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https://archive.org/details/householdelegancOOjone_0 


Entered  according  to  Act  of  Congress,  in  the  year  one  thousand  eight  hundred  and  seventy-five, 
By  henry  T.  WILLIAMS, 
in  the  office  of  the  Librarian  of  Congress,  at  Washington,  D,  C. 


CLARK  W.  BRYAN  &  CO., 
ELECTROTYPERS,  PRINTERS  AND  BINDERS, 
SPRINGFIELD,  MASS. 


m 


PEEFACE. 


Home  !  Is  there  a  sweeter  word  in  any  language  than  that  of  Home  ?  What 
can  bring  brighter  pictures  of  joy ;  what  can  give  images  to  remain  longer  on  the 
mind ;  what  can  we  treasure  more  tenderly  than  memories  of  Home ;  and  where, 
in  all  the  earth,  can  happier  hearts  be  gathered,  but  in  the  delightful  precincts  of 
Home? 

Let  it  be  our  cordial  pleasure,  then,  to  give  some  useful  encouragement  to  every 
lover  of  sweet,  pure,  tasteful.  Home  life,  helping  all  to  add  to  its  attractions ; 
to  show  them  in  many  beautiful  little  ways,  how  to  embellish  its  walls,  im- 
prove every  I'Oom  with  fancy  ornaments,  and  even  decorate  the  windows  with 
the  charms  of  art  and  refined  taste. 

To  the  ladies  of  America,  lovers  of  Home  decorations,  and  ardent  imitators  of 
every  hint  and  tasteful  suggestion,  we  present  you  these  pages,  and  offer  our 
greeting,  with  the  cordial  wish,  that  in  every  Home  where  enters  this  dainty 
volume,  there  may  be  a  welcome  rich  and  long  remembered. 

The  beaul^ies  and  attractions  of  Home  can  be  none  too  pleasant  or  tasteful. 
Here  gather  the  young  to  learn  for  all  years  to  come.  Here  social  life  gains 
its  lessons  of  utility  and  sense.  And  in  these  pages  all  may  find  a  stimulus  for 
new  thoughts,  more  active  work,  with  pretty  fancies,  and  aesthetic  beauty  to  gild 
the  days  for  years  to  come — 

Bright  moments  shall  still  brighter  grow, 
While  Home  becomes  our  Heaven  below. 


^ A3, O  ^  O  ^  O .  A  ^  ^ 
§  v>  O  V>  O  O      ^      V?  -(^ 


%j  "uj.  V  V  ^'  V    V  V 


^A  b 

^^^/> 
^  A/ 


A  ^3 


Fig.  1.   A  Cross  in  Glass  Transparency. 


HOUSEHOLD  ELEGANCIES. 


CHAPTER  I. 


TRANSPARENCIES  ON  GLASS,  Etc. 


Glass  may  be  made  to  appear  like  ground  "  or  colored  glass,  in  several  dif- 
ferent ways. 

One  method  is  to  cover  with  bobinet,  or  tarlatan,  not  fine,  but  of  even  texture. 
If  the  glass  is  desired  with  a  figured  surface,  procure  figured  net,  or  in  lieu  of 
thi.s,  work  the  material  with  a  pattern,  in  fine  embroidery  cotton,  run  through 
the  meshes. 

This  will  be  found  a  pretty  mode  of  adorning  windows,  or  forming  lamp- 
shades, lanterns,  etc.,  as  will  be  hereafter  explained. 

The  glass  is  first  covered  with  clear  varnish,  that  which  is  used  for  DiapJianie 
being  the  best  (but  Demar  will  answer)  ;  after  which,  a  piece  of  the  white  net 
is  cut  to  fit  the  glass,  and  coated  with  the  same  varnish  upon  one  side.  After 
the  net  has  absorbed  the  varnish  sufficiently,  it  is  applied  to  the  glass  (the  two 
varnished  sides  together).  When  dry  it  must  have  another  coat  of  varnish,  and 
be  dried  until  perfectly  hard.  By  this  simple  process,  plain  glass  may  be  made 
to  appear  like  ground  glass,  and  can  be  washed  equally  as  well.  In  forming 
lamp-shades,  six  pieces  of  glass  are  cut,  each  four  inches  wide  at  the  bottom, 
and  three  at  the  top ;  the  corners  rounded  off,  forming  scallops,  and  bound 
round  the  edges  with  ribbon,  or  galloon,  then  dried.  After  they  become  dry, 
the  pieces  are  sewed  together,  and  strong  galloon,  or  thick  ribbon  sufficiently 
wide  to  cover  the  edges,  glued  over  the  stitched  seams.  Any  tinman  can  make 
a  wire  frame  to  fit  such  a  shade,  which  will  be  found  extremely  ornamental,  es- 
pecially if  the  net  is  figured  with  a  pattern  corresponding  with  the  shape  of 
each  section  of  glass. 

COLORED  TRANSPARENCIES  ON  GLASS. 

The  glass  to  be- ornamented  is  laid  upon  the  picture,  and  the  outline  traced 
upon  it  (as  also  explained  in  Diaphanie).    The  transparent  colors  are  used  also 


6 


HOUSEHOLD  ELEGANCIES. 


in  the  same  manner,  with  brown  or  black  paint  mixed  with  mastic,  or  white 
varnish ;  going  over  each  outline  with  the  peculiar  color,  which  is  to  form  the 
center.  These  outlines  dry,  turn  the  glass  upside-down,  and,  taking  very  pale 
blue,  begin  at  the  horizon  and  paint  downward,  the  edge  forming  the  zenith, 
which  should  be  deepened  in  tone.  A  medium-sized  brush  should  be  used  for 
this,  and  the  color  laid  evenly.  The  clouds  are  next  laid  on  of  grays  and  white, 
made  soft  and  fleecy  by  using  a  "  dabber,"  (or  a  camel's-hair  brush  cut  off  al- 
most to  the  quill,  will  answer,)  or  the  "  blender  "  used  in  oil  painting;  a  good 
effect  is  sometimes  produced  by  rubbing  certain  parts  in  with  the  tip  of  the  fourth 
finger;  the  fleecy  parts  of  clouds,  distant  naountains.  the  cheeks  of  figures,  etc. 
When  the  sky  is  entirely  finished  and  dried,  the  glass  may  be  turned  up,  and  the 
mountains,  hills,  distant  objects,  may  be  painted,  using  a  pale  lavender,  gray 
and  purplish  white  for  the  former ;  the  lights  may  be  made  by  scraping  off  cer- 
tain parts  with  a  knife,  or  scraper,  and  afterwards  touching  up  with  a  soft  tint. 
By  using  a  transparent  easei,  the  effect  can  be  constantly  watched,  and  certain 
improving  changes  made. 

As  these  transparencies  are  intended  to  imitate  stained  glass,  it  is  best  to  use 
the  warm,  bright  colors  ;  the  lakes,  sienna,  Prussian  blue,  and  all  the  exquisite 
greens  produced  with  yellow,  lake,  and  Prussian  blue,  in  various  quantities  ; 
making  the  bright  emerald  tints  with  the  yellow,  and  the  blue  shades  by  allow- 
ing the  blue  to  predominate.  In  moonlight  scenes,  the  brown,  and  grays,  and 
touches  of  black,  with  the  cold  greenish  hues,  given  by  terre-verte,  in  the  foli- 
age, are  very  lovely.  Attention  must  be  paid  to  keeping  distant  objects  rather 
indistinct,  giving  a  sort  of  misty,  hazy  look  to  the  objects,  by  using  purplish 
gray  tints,  while  the  foreground  must  be  made  bold  and  distinct,  with  touches 
of  opaque  color.  But  the  most  important  implement  is  the  knife  and  stiletto, 
with  which,  wonderful  results  can  be  produced,  by  judicious  scraping  and  "pick- 
ing out."  By  the  use  of  these,  high  lights  can  be  finely  produced,  and  the  very 
form  given  to  prominent  leaves  and  flowers,  by  carefully  scraping  and  picking, 
followed  by  the  brush  and  transparent  tint  in  small  quantities.  There  need  be 
no  fear  of  using  these  means  of  producing  effect,  for,  in  case  of  any  over-freedom 
in  the  use  of  them,  recourse  may  always  be  had  to  the  paint  again,  which  can 
be  applied  and  blended  into  the  old  paint  by  the  "  dabber"  which  will  readily 
cover  all  deficiencies.  Touches  of  deep  color,  and  a  free  use  of  the  black  paint 
brush,  will  add  greatly  to  the  effect,  by  producing  deep  shadows  and  bringing 
out  prominent  objects,  and  the  point  of  a  fine  camel's-hair  pencil  must  be  used 
with  it,  to  outline  all  the  fine  parts. 

For  this  style  of  transparency,  various  designs  will  apply,  of  which  we  give  a 
few  illustrations : 

Fig.  2  would  be  effective,  painted  thus :— Cap  and  mantle,  ruby;  doublet, 
orange ;  hose,  green ;  shoes,  purple ;  background,  quarries  of  white,  diapered 
with  tracing-color ;  and  border,  deep  blue,  with  yellow  flowers.    Fig.  3,  Cap  and 


8 


HOUSEHOLD  ELEGxiXCIES. 


doublet,  ruby  or  vermilion  (use  red  with  foil  or  gold  stain  behind) ;  border, 
gold ;  hose,  yellow  (grayish)  ;  shoes,  buff ;  covering  of  chair,  blue ;  lectern  and 
floor,  dark  tracing-color;  background  diapered  in  light  tracing-color;  border, 
vermiiion,  with  gold  flowers. 

TRAlSrSPAEENCIES  FOR  WINDOWS,  LAMPS,  Etc. 

Trace  figure  4  on 
pieces  of  card-board, 
in  size  about  8  x  10 
inches,  or  of  size  to 
suit  the  place  designed 
to  accommodate  them. 
The  tracing  should  be 
by  mere  touches  of  the 
pencil.  Then,  with  a 
very  sharp  and  pointed 
knife,  cut  out  almost 
the  entire  outline  (lay- 
ing the  card  on  a  piece 
of  s  m  o  o  t  h  b  0  a  r  d), 
leaving  only  small 
places  attached,  to 
merely  hold  the  parts 
together. 

The  pieces  are  all 
joined  at  some  point, 
and  thus  there  is  a 
j  continuous  outline, 
but  none  of  the  other 
lines  must  touch  it,  or 
each  other. 

The  centers  of  the 
leaves  are  cut  through 
in  the  middle,  but  the 
cut  must  not  extend 
to  the  sides.  Then 
press  the  knife  into  the 
broad  lights,  and  cut  short  slits ;  also  prick  the  stems,  grasses  and  other  fine 
lines  with  a  No.  8  needle.  Then  color  the  portion  of  the  card  marked  with  dots 
from  E  to  G,  on  the  opposite  side  of  the  card  from  which  it  is  to  be  looked  at, 
from-B  to  C,  and  from  D  to  E,  with  wide-sweeping  strokes  of  the  brush  loaded 
with  green ;  then  from  F  to  F  with  cobalt  blue,  and  all  the  remaining  parts  of 


IIOUSEOOLD  ELEGANCIES. 


9 


the  edges  within  the  dotted  lines,  with  lighter  tints  of  green.  The  part  round 
the  vase  is  left  uncolored.  When  entirely  finished,  bend  the  group  of  flowers 
and  vase,  the  very  least  bit  possible,  backward. 

These  transparencies,  whether  hung  against  the  window,  or  placed  as  a  shade 
over  a  lamp,  will  be  found  very  lovely. 

GLASS  TRANSPAEi^NCIES  IN  IMITATION  OF  STATUARY. 

This  style  of  transparency  is  extremely  effective  and  chaste.  It  may  be  used, 
as  previously  described,  for  permanent  transparencies,  or  for  lanterns,  hall 
lamps,  or  shades  for  candles,  or  lamps,  or  for  window-screens ;  also,  as  slides  of 
various  kinds,  in  any  position,  being  objects  of  striking  beauty. 

Ground  glass,  or  plain  glass,  prepared  as  before  described  with  a  ground- 
work of  bobinet,  must  be  used  for  this  style. 

Have  the  glass  perfectly  clean  and  dry,  and  fasten  it  (if  possible)  in  a  trans-  * 
parent  easel,  at  least  in  front  of  a  window,  in  order  to  notice  the  shades  and 
lights.  Then  draw  the  design  carefully  upon  the  glass,  by  picking  the  outlines 
with  a  sharp,  coarse  needle,  and,  with  a  pounce-bag  dust  upon  it  either  a  little 
pounded  indigo,  lamp-black,  or  chalk ;  raise  the  paper  carefully,  and  with  a  little 
lamp-black  rubbed  up  in  white  varnish,  draw  off  the  outlines  of  the  figure  or 
group.  Any  statuesque  designs  are  most  suitable  for  these  transparencies, 
either  in  bas-relief  or  the  full  figures,  which  will  appear  as  beautifully  rounded 
and  projecting  upon  the  glass,  as  if  carved  out  of  marble  by  the  hand  of  the 
sculptor.  Proceed  to  shade  with  No.  BB,  B,  F,  HB,  and  H  drawing-pencils, 
using  the  buckskin  stumps  to  rub  down  and  soften  any  rough  outlines,  blending 
and  mellowing  the  shades,  until  the  true  effect  is  obtained  of  the  marble  statue. 
This  must  be  carefully  done,  and,  where  possible,  a  photograph  of  a  graceful 
group,  bust,  or  single  figure,  will  prove  a  wonderful  aid  in  showing  the  shading, 
and  where  the  lights  appear.  The  high  lights  are  to  be  touched  last,  with  mas- 
tic varnish  (made  according  to  the  recipe).  Heavy  strokes  may  be  made  with 
a  black  crayon,  and  all  parts  must  be  touched  and  re-touched,  shaded  and 
"  stumped,"  until  the  desired  effect  is  produced. 

When  the  shading  is  satisfactorily  finished,  the  ground-work  of  the  glass  is 
to  be  filled  in  with  opaque  black,  in  oil  paint  or  water  colors.  In  going  around 
the  edges  of  the  figures,  use  a  fine  camel's-hair  brush  and  the  greatest  care,  that 
the  outline  is  kept  perfectly  clear  and  distinct. 

Where  it  is  not  convenient  to  paint  the  black  background,  a  beautiful  effect  may 
be  produced,  by  cutting  out  the  outline  of  the  statue  from  a  piece  of  black  or 
dark-colored  paper,  fastening  it  on  the  glass,  and  shading  the  space  within. 
The  paper  should  be  fastened  with  the  black  side  next  the  glass,  and  it  has  a 
pretty  effect  to  use  clear  glass  for  these  transparencies,  whether  the  ground  be 
painted,  or  covered  with  paper,  preparing  the  space  outlined  for  the  design  with 
two  coats  of  antique  varnish,  or  Yacquerel's  varnish,  used  in  Dinphanie. 


10 


HOUSEHOLD  ELEGANCIES. 


Where  a  colored,  transparent  picture  is  desired,  the  g'round  may  be  laid  with 
any  of  the  transparent  colors,  Prussian  blue,  any  of  the  lake  colors,  or  shades 
made  of  different  tints  mixed,  as  the  rich  purple,  made  by  mixing  crimson  lake 
and  Prussian  blue,  or  the  bright  emerald  green,  from  yellow,  lake  and  Prussian 
blue,  etc. 

These  transparencies  are  exquisitely  lovely,  the  statuary  appearing  to  stand 
out  in  soft,  white,  statuesque  beauty,  against  the  deep  black,  or  brilliant  tints 
of  crimson,  blue  or  purple. 

LEAE  TEANSPAEENCY  EOE  HALL  LIGHT  OR  WINDOW. 

The  exquisite  transparency  repre- 
sented in  figure  5  is  made  by  ar- 
ranging pressed  ferns,  grasses,  and 
autumn  leaves,  between  panes  of 
window  glass.  The  process  is  as 
follows  : 

Take  two  panes  of  glass,  cover 
one  pane  with  shire  Swiss  muslin ; 
lay  your  muslin  on  the  table,  the 
pane  of  glass  on  it,  draw  the  edges 
of  the  muslin  over,  and  secure  it  by 
drawing  stitclies  from  side  to  side, 
seeing  that  the  threads  of  the  mus- 
lin run  straight.  Arrange  your 
ferns  and  leaves  in  the  design  you 
wish,  a  wreath,  cross  or  bouquet, 
with  the  under  side  of  the  leaf  on 
the  muslin.  After  they  are  ar- 
ranged, confine  them  by  just  a 
touch  of  mucilage  or  gum-traga- 

O  o  o 

canth,  to  the  under  side  of  the  leaf, 
carefully  moisten  the  edge  of  the 
Fig.  5.  Leaf  Transparency.  muslin  with  the  mucilage,  and  let  it 

dry  on  the  glass ;  lay  the  second  pane  of  glass  on,  and  bind  the  two  panes 
together  by  gumming  on  a  strip  of  linen  or  strong  muslin.  Now  trim  off  the 
edges  of  the  Swiss,  and  cover  the  binding  with  ribbon. 

To  form  a  loop  for  hanging  the  transparency,  paste  a  binding  of  galloon 
along  the  upper  edge,  leaving  a  two-inch  loop  free  in  the  center,  afterwards  to 
be  pulled  through  a  little  slit  in  the  final  binding. 

Some  flowers  retain  their  color  well  after  pressing,  especially  the  pansy  and 
little  yellow  buttercup,  and  work  in  well.  Also  the  Lycopodiums,  after  being 
pressed,  are  very  desirable  in  arranging  your  transparency.    A  cross,  arranged 


HOUSEHOLD  ELEGANCIES. 


11 


in  small  maple  leaves  and  ferns  and  lycopodiums  may  be  hung  in  a  sunny  win- 
dow, and  be  found  very  pretty.  Covering  the  inside  panes  of  glass  with  Swiss 
muslin,  after  arranging  your  window  with  ferns  and  leaves,  softens  the  light 
and  adds  much  to  its  beauty. 

These  transparencies  may  be  either  hung  before  a  window,  or,  if  prefeiTed, 
secured  against  a  pane  in  the  sash.  In  halls,  a  beautiful  effect  is  produced  by 
placing  them  against  the  side-lights  of  the  hall-door.  Where  the  side-lights 
are  each  of  only  a  single  pane,  it  is  well  worth  while  to  place  a  single  transpar- 
ency against  each,  filling  up  the  e^itire  space,  thus  affording  ample  scope  for  a 
free  arrangement  of  ferns,  grasses,  and  leaves,  while  the  effect  of  the  light  pass- 
ing through  the  rich  autumnal  colors  is  very  fine.  Leaves  so  arranged  will 
preserve  their  beauty  during  the  whole  of  the  winter. 

OENAMENTAL  SCREEN  EOR  LAMP. 

An  exceedingly  pretty  standing- 
screen  for  a  lamp  can  be  formed  of 
eight  oblong  transparencies  (made 
of  glass  and  autumn  leaves)  tacked 
together  with  strong  sewing-silk,  so 
as  to  form  an  eight-sided  hollow  col- 
umn, as  shown  in  the  accompanying 
illustration.  To  hide  the  candle- 
stick, the  screen  should  be  lined 
throughout  with  oiled  tissue-paper 
— either  white  or  of  a  delicate  rose- 
color.  A  better  plan  still,  is  to  get 
the  effect  of  ground  glass,  by  rub- 
bing each  strip  of  glass  on  a  flat 
paving  -  stone,  plentifully  covered 
with  white  sand.  The  grinding 
process,  of  course,  must  be  per- 
formed before  the  leaves  are  in- 
serted, and  then  only  upon  the  inner 
sides  of  the  glasses.  The  completed 
^  6.  Ornamental  Screen  for  Lamp.  screen  may  have  a  sim^^le  border  of 

heavy  chenille  at  the  base,  or  be  placed  upon  an  unvarnished  black-walnut  stand, 
decorated  with  acorns,  pine  cones,  etc.  The  screen  is,  of  course,  left  open  at 
the  top.  It  must  be  set  over  a  lighted  candle — a  small  lamp  to  give  it  best 
effect — though  it  is  also  a  very  ornamental  object  in  the  day-time. 

FANCY  SHADES. 

Other  fancy  shades  for  lamps,  screens,  windows,  etc.,  may  be  made  as  follows  : 
Take  j^erforated  card-board,  fine  white  tarlatan,  narrow  ribbon,  leaves  and 


12 


HOUSEHOLD  ELEGANCIES. 


ferns.  The  leaves  and  ferns  should  be  mostly  small  ones.  These  have  to  be 
pressed,  and  a  very  good  way  to  do  this  is  to  lay  them  between  fine  blotting- 
paper,  and  then  put  them  either  in  a  press  or  under  some  heavy  weight.  Care 
should  be  taken  to  remove  them  once  every  day,  while  the  papers  are  dried 
over  a  lamp.  This  process  should  be  continued  until  the  leaves  and  ferns  are 
perfectly  dry,  when  the  leaves  alone  should  be  varnished.  These  two  import- 
ant parts  of  the  work  being  finished,  cut  six  pieces  of  card-board  the  shape 
of  that  in  the  picture,  and  arrange  the  leaves  and  the  ferns  on  each  piece  differ- 
ently. A  bouquet  is  very  pretty  for  one  piece,  while  on  the  next  an  anchor 
made  with  ferns  would  look  well,  and  on  a  third  a  short  verse,  such  as  "  God  is 
love,"  made  of  very  small  ferns,  or  the  leaves  of  ferns,  is  really  beautiful ;  and 
so  on,  each  piece  having  a  new  design.  When  they  are  fixed  to  your  taste, 
fasten  them  on  by  fine  white  thread,  then  cover  the  card-board  on  both  sides 
by  the  tarlatan,  and  bind  them  with  ribbon,  which  is  best  should  be  green. 

The  only  thing  which  now  remains  to  be  accomplished  is  to  oversew  the  pieces 
together  with  silk. 

The  effect  is  charming,  the  leaves  and  ferns  showing  off  to  great  advantage 
when  over  the  light. 

TEANSPAEENCIES  ON  GLASS,  WITH  EiTGRAVINGS. 

Have  the  glass  perfectly  clean,  and  apply  a  coat  of  antique  varnish,  and  when 
dry  apply  another  coat,  thin  and  very  smoothly  applied;  when  this  has 
partially  dried,  or  until  a  little  sticky,  apply  the  engraving,  which  has  been  pre- 
pared as  follows : 

Lay  the  engraving  between  the  folds  of  a  damp  cloth  until  it  is  thoroughly 
moist  (a  little  salt  should  be  dissolved  in  the  water),  then  place  the  engraving 
upon  the  varnished  side  of  the  glass,  absorbing  all  surplus  water  with  blotting- 
paper,  and  press  every  part  of  it  smoothly  upon  the  glass  (as  in  direction  for 
Chess  table).  When  the  whole  engraving  has  been  firmly  fixed,  moisten  the 
finger  and  commence  rubbing  off  the  white  paper,  from  the  wrong  side.  Con- 
tinue this  until  it  is  all  removed,  using  the  utmost  care  not  to  mar  the  engrav- 
ing. When  dry,  rub  any  white  spots  again.  The  engraving  should  appear 
perfect  upon  the  glass.    Then  color  carefully,  or  varnish  with  white  varnish. 

TRANSPAEENCIES  ON  MUSLINS. 

For  some  purposes,  such  as  window-shades,  ornamental  lanterns,  screens,  etc., 
such  transparencies  as  we  are  about  to  describe  are  finely  adapted.  And  it 
would  appear  unfortunate,  that  so  little  attention  is  paid  to  this  mode  of  orna- 
nenting  windows,  and  forming  various  articles  of  use  and  adornment,  inasmuch 
as  it  is  capable  of  high  dioramic  effect,  when  tastefully  and  artistically  painted ; 
by  shading  carefully,  and  using  skill  and  judgment  in  lighting  and  touch- 


HOUSEHOLD  ELEGANCIES. 


13 


ing,  illusions  of  the  loveliest  kinds  may  be  produced,  so  shadowy  and  delicate, 
as  to  appear  like  some  scene  in  fairy-land. 

To  produce  these  wonderful  results  on  transparent  muslin,  however,  requires 
care  in  the  more  minute  details,  and  some  artistic  skill,  and  to  accomplish 
which,  the  operator  must  devote  a  certain  amount  of  time,  patience,  and  energy 
in  making  the  preparatory  arrangements,  and  in  finishing  up  those  last  delicate 
details,  upon  which  so  much  of  the  true  beauty  consists. 

The  materials  necessary  for  this  work  are  : — The  muslin,  which  must  be  with- 
out seam,  and  of  an  even,  fine  texture  (such  as  is  called  "  soft-finish  skirting  " 
is  perhaps  the  best),  size,  made  with  gelatine,  transparent  colors,  varnish,  a 
pounce-bag  and  a  few"  cards  cut  out  as  stencil  plates,  a  frame  such  as  is  used 
for  quilting,  with  strips  of  webbing  or  muslin  tacked  tightly  alofig  the  inner  edge, 
and  holes  along  the  two  end  pieces,  for  the  pegs  used  in  tightening  the  muslin. 
The  brushes  used  for  oil-painting  are  best  for  this  work,  with  a  few  camel's-hair 
brushes  for  fine  lines. 

The  muslin,  sewed  to  the  webbing  of  the  frame,  it  is  carefully  stretched  until 
tight  and  smooth ;  then  coat  it  thoroughly  with  size,  and  when  dry,  if  not  per- 
fectly tight,  stretch  again,  moving  the  pegs  to  a  suitable  distance ;  then  give 
another  coat  of  the  size,  laying  it  on  carefully  and  smoothly.  When  the  last  coat 
is  perfectly  dry  and  the  muslin  quite  tight,  it  must  be  rubbed  smooth  with  pum- 
ice-stone. (In  preparing  the  muslin  in  the  frame,  at  the  same  time  size  a  piece 
of  muslin,  upon  which  to  try  the  effect  of  the  colors,  etc.,  before  applying  them 
to  the  transparency,  giving  it  the  same  number  of  coats  and  polishing  in  a  sim- 
ilar manner ;  this  will  frequently  prevent  the  marring  of  the  picture,  as,  if  the 
colors  sink  into  the  fabric  in  spots,  and  blurred,  running  stains,  it  is  a  sign  that 
more  size  is  required,  and  another  coat  must  be  given.) 

The  muslin  properly  prepared,  the  design  is  traced  upon  paper  (if  of  extens- 
ive proportions,  in  several  sections),  and  pricked  with  a  needle,  then  laid  upon 
the  muslin  and  dusted  profusely  with  any  colored  powder ;  the  design  left  upon 
the  surface  in  minute  dots,  can  then  be  traced  out  with  a  soft  pencil,  or  the  va- 
rious colors  used  in  the  design,  made  very  light  with  megilp  or  varnish;  in 
painting  leaves,  flowers,  and  various  other  special  parts  of  designs,  the  outlines 
may  be  traced  upon  stiff  card,  and  cut  out  with  a  sharp-pointed  knife,  then  laid 
upon  the  proper  place,  and  the  paint  worked  within  the  stencil. 

The  next  step  is  to  color  the  design,  which  is  done  as  before  described  for 
other  transparent  painting. 

When  very  delicate  tints  are  required,  the  slightest  portion  of  color  will  be 
found  sufficient,  and  the  deeper  shades  given  by  successive  coats  of  color, 
rather  than  one  deep,  heavy  one  in  the  commencement.  For  the  high  lights, 
use  the  scraper  and  knife-point ;  and  in  fine  parts,  the  point  of  a  stiletto,  or  a 
coarse  needle.  (Use  the  trial  piece  of  muslin  constantly,  in  order  to  test  the 
various  colors.) 


14 


HOUSEHOLD  ELEGANCIES. 


The  designs  given  for  Diaplianie,  or  glass  transparencies,  will  be  appropriate 
for  this  work,  and  where  tastefully  painted,  the  effect  is  capable  of  being  made 
yery  imposing. 

Persons  are  so  apt  to  judge  of  muslin  transparencies  by  the  coarse  designs, 
roughly  executed,  which  are  seen  in  public  exhibitions,  that  the  art  has  greatly 
deteriorated,  but  it  is  capable  of  being  both  a  useful  and  elegant  method  of 
adorning  the  windows  of  a  dwelling,  or,  as  was  mentioned  before,  for  various 
articles  of  furniture,  such  as  screens,  lanterns,  window-shades,  etc. 

STAINED  GLASS  WINDOWS. 
In  describing  the  various  methods  by  which  ladies  may  make  the  windows  of 
their  dwellings  highly  ornamental,  we  explained  the  different  modes  of  imita- 
ting stained  glass. 

Now  there  may  be  some  persons,  who  prefer  the  real  article,  and  we  have  felt 
inclined  to  describe  two  methods  by  which  amateurs  may  make  stained  and 
enameled  glass  of  a  fine  kind  for  themselves.    Inasmuch,  however,  as  the  proc- 


ItLi  LJ 

Fig.  7.   Elizabethan  Windows.    Stained  Glass. 

ess  is  somewhat  tedious,  and  very  few,  perhaps,  would  have  the  facilities  re- 


HOUSEHOLD  ELEGANCIES. 


15 


quired  for  baking,  leading,  etc.,  and  as  Diaphanie  affords  a  mode  superior  in 
point  of  beauty,  we  have  concluded  to  merely  give  one  method  by  which  genu- 
ine stained  glass  may  be  used,  when  the  taste  leads  any  one  to  prefer  it. 

This  method  consists  in  cutting  out  and  putting  together  pieces  of  variously- 
colored  glass,  in  such  a  manner  as  to  form  geometrical  figm-es,  more  or  less 
complicated. 

In  figure  7  we  give  some  designs  for  this  style  of  work,  of  a  window  in  the 
Elizabethan  style,  which  is  thus  filled  with  it.  All  the  glass  in  the  three  upper 
compartments  are  filled  with  colored  glass,  while  the  lower  have  only  the 
smaller  pieces  colored  and  the  large  plain,  in  clear  or  ground  glass.  Designs 
of  this  description  answer  admirably  for  sash-windows;  each  pane  may  be 
filled  with  a  different  figure  in  appropriate  colors,  all  of  which  may  be  ob- 
tained from  any  colored-glass  establishment,  where  they  can  be  cut  as  directed 
by  the  purchaser,  or  large  pieces  can  be  obtained  and  cut  with  a  glaziers' 
''diamond;"  we  would  recommend  the  former  plan,  however,  as  the  most 
economical  and  satisfactory.  The  pieces  all  cut  and  arranged,  are  leaded  in 
the  following  manner :  Strips  of  lead  with  grooves  in  the  center  are  obtained 
and  the  pieces  of  glass  fitted  into  the  grooves  (which  is  readily  done  as  the  lead 
is  very  pliable,  and  will  adapt  itself  easily  to  any  form)  ;  where  a  joint  has  to  be 
made,  one  strip  is  sharpened  to  a  point  and  inserted  into  the  groove  of  the  other. 
The  surface  is  scraped  bright,  and  a  little  powdered  rosin  sprinkled  on,  to  act 
as  a  flux.  The  heated  "  soldering-iron  "  is  then  rubbed  on  a  piece  of  tin  with 
solder  and  rosin.  The  end  of  the  strip  of  solder  is  next  applied  to  the  joint, 
and  melted  down  with  the  "  iron."  When  the  whole  design  is  thus  fixed  to- 
gether, it  is  cemented ;  that  is,  linseed  oil  is  poured  over  the  glass,  powdered 
whitening  sprinkled  on,  and  the  putty  well  worked  into  all  the  cracks ;  lastly, 
lamp-black  is  rubbed  over  all  the  lead,  which,  with  the  oil  and  whitening,  forms 


Fig.  8.  Fig.  9. 

a  sort  of  black  paste.  The  glass  is  then  rubbed  clean  and  clear  with  whitening 
and  a  soft  piece  of  chamois-skin. 


16 


HOUSEHOLD  ELEGANCIES. 


One  objection  to  stained  glass,  in  our  ordinary  windows,  is  the  very  disagree- 
able and  unsightly  appearance  of  the  lead-lines  ,•  but  in  hall,  vestibule,  conserv- 
atory, or  stair-case  windows,  this  is  of  little  importance,  and  here  such  glass 
as  we  have  described,  would  be  very  ornamental. 

In  figures  8  and  9  are  two  samples  of  panes,  in  which  the  following  colors  are 
appropriate ;  figure  8,  surrounding  circles,  blue ;  straight  strips,  ruby ;  curved, 
yellow ;  and  the  remainder,  white  glass,  with  the  ornamental  "  rays  "  drawn 
upon  it  in  tracing-color;  which  gives,  when  finished,  and  against  the  light,  a 
gray.  In  figure  9,  the  center  and  border  strips,  purple;  curved  strips,  yel- 
low ;  the  four  diamond-shaped  spaces,  on  diagonals,  blue ;  the  remainder,  white 
glass,  with  the  vine  in  tracing-color,  that  portion  within  the  curved  lines  being 
gold-stained  behind. 

OENAMENTATION   FOR   WINDOWS    OF    HALLS,  VESTI- 
BULES, CONSERVATOEIES,  Etc. 

There  is  no  reason  why  certain  windows  in  our  dwelling-houses  should  not 
be  made  as  highly  ornamental  as  those  of  churches,  or  other  public  buildings ; 
and  there  appears  to  be  such  a  growing  taste  in  this  line,  that  we  feel  inclined 
to  take  particular  pains  to  aid  and  instruct  those  who  desire  to  thus  improve 
their  dwellings,  by  means  of  this  particular  branch  of  work,  which  is  in  itself  an 
art  well  worth  all  the  time  and  money  that  may  be  expended  on  it.  The  vari- 
ous kinds  of  illumination  or  imitation  of  stained  glass,  may  be  applied  to  win- 
dow ornamentation,  or  to  screens,  etc.,  and  may  be  successfully  practiced  by 
amateurs ;  being  ^especially  adapted  to  ladies,  who  will  find  each  one  of  the 
methods  a  delightful  pastime,  as  well  as  a  charming  means  of  producing  elegant 
additions  to  tjie  house.  They  may  even  go  so  far  as  to  prepare  and  bake  glass, 
fasten  together  with  leads,  etc.,  and,  indeed,  carry  through  the  entire  modus 
operandi "  of  preparing  stained  glass,  or,  pgrhaps,  the  rather  easier  method  of 
painting  or  enameling,  by  scientific  processes. 

DIAPHANIE. 

As  the  new  method  of  ornamenting  glass,  called  DIAPHAISTIE  (introduced 
in  France  by  Mons.  P.  E.  Vacquerel),  is  so  much  more  readily  accomplished, 
and  is  withal  so  brilliant  and  imposing,  it  appears  scarcely  worth  while,  how- 
ever, to'  attempt  the  more  difficult  and  tedious  process  of  staining  or  enameling. 

Mons.  Vacquerel,  in  calling  attention  to  this  branch  of  art,  says,  "  This  work 
may  be  easily  performed  at  small  cost ;  it  completely  supersedes  all  kinds  of 
blinds.  It  bears  a  close  resemblance  to  the  costly  stained  glass  of  the  old  proc- 
ess, over  which,  however,  it  possesses  some  important  advantages,  and  is  ap- 
plicable to  windows  of  all  kinds,  church,  stair-case,  conservatory,  vestibules, 
library,  etc.,  which  may  be  decorated  speedily  and  in  any  style. 


HOUSEHOLD  ELEGANCIES. 


17 


The  opinion  of  the  English  press,  in  its  favor,  is  one  series  of  high  and  en- 
thusiastic praise,  speaking  of  its  beauty  in  various  churches,  public  buildings, 
and  also  in  dwellings. 

The  designs,  which  come  in  sheets,  are  of  various  kinds,  embracing  designs 
both  ancient  and  modern,  and  of  every  character,  from  the  elaborate  figure- 
pieces  of  sacred  character,  to  the  soft  and  delicately  tinted  bouquet,  or  gay  and 
dazzling  bird  or  butterfly. 

The  various  designs  for  this  work  consist  of  about  three  hundred  different 
kinds,  of  which  we  give  a  few  samples,  with  their  names.  The  sheets  of  designs 
are  16  x  20  inches,  some  containing  one,  others  twenty  designs.  We  cannot 
better  describe  this  invaluable  invention  than  in  the  words  of  Mons.  Yacquerel 
himself : 


Fig.  10.  Designs  in  Diaphanie.   German  Landscape  Views. 


"  The  invention  is  applicable  to  windows  of  all  kinds  and  shapes ;  also  for 
lamp-shades,  fire-screens,  and  the  many  uses  for  which  stained  and  ornamental 
glass  is  ordinarily  employed,  completely  superseding  the  clumsy  wire  and  other 
blinds. 

As  a  pleasing  occupation  for  either  ladies  or  gentlemen,  the  work  is  one  of 
the  most  useful  and  beautiful  of  the  elegant  arts,  now  so  much  practiced. 

Cleanliness,  and  the  comparatively  small  cost  of  the  materials  used,  also  rec- 
ommend it  to  the  attention  of  those  who  have  leisure,  either  for  amusement  or  for 
purposes  of  profit ;  as  windows  in  churches,  halls,  etc.,  may  be  decorated  in  any 
style,  ancient  or  modern,  the  unsightly  views  of  the  blackened  walls,  chimneys, 
etc.,  from  stair-case  or  other  windows,  so  frequently  an  annoyance  to  the  eye  in 
2 


18 


HOUSEHOLD  ELEGANCIES. 


houses  situated  in  towns,  may  thus  be  completely  excluded  without  materially 
interfering  with  the  light,  and  that  charming  appearance  given  to  an  apartment 
which  stained  glass  always  imparts. 

The  designs  used  are  produced  by  new  processes  in  lithography,  and  possess, 
when  transferred  to  glass,  all  the  richness  and  fullness  of  color,  as  well  as  that 
fin3  transparency,  obtained  by  the  old  and  expensive  art  of  glass-staining." 

Various  artists  and  amateurs  in  painting,  and  also  professional  and  amateur 
glass-stainers,  have  expressed  themselves  satisfied  that  this  work  is  destined  to 
fill  a  niche  in  window  ornamentation,  long  left  unoccupied,  and  which,  strenuous 
efforts  have  been  used  to  fill. 

The  English  are  acknowledged  to  be  exceedingly  fastidious,  and  even  hard  to 
satisfy,  in  regard  to  church  ornamentation,  yet  various  testimonials  from  En- 
glish writers,  show  how  perfectly  satisfied  and  delighted  they  are  with  the  art 
of  Diaphanie. 

One  writer,  in  speaking  of  a  church-window  recently  ornamented  with  these 
designs,  says : 

"  With  a  view  to  moderate  the  light  which  streamed  through  the  windows  on 
the  south,  and  on  the  right  and  left  of  the  pulpit,  a  trial  has  been  made  of  the 
new  French  process,  knovm,  in  the  trade,  by  the  name  of  '■'■Diapliania"  This  work 
has  been  carried  out  in  the  most  artistic  manner  by  Mr.  Keet,  of  Renshaw  street. 


Fig.  11.  Design  in  Diaphanie. 

The  pattern  is  singularly  chaste  and  delicately  worked  dut,  so  much  so  that, 
when  standing  on  the  pulpit  stairs  and  looking  close  at  the  window,  it  will  defy 
detection  from  real  stained  glass,  excepting,  perhaps,  by  professional  glass- 
stainers,  who  will  only  be  able  to  tell  the  difference  by  the  fineness  and  deli- 


HOUSEHOLD  ELEGANCIES.  19 


Fig.  12.  Design  in  Diaphanie.  Charity. 


20 


HOUSEHOLD  ELEGANCIES. 


cacy  of  the  colors  and  patterns,  and  an  absence  of  that  coarseness  which  is 
invariably  observed  in  stained  glass,  by  a  close  inspection. 

The  general  appearance  of  the  windows,  with  the  sun  upon  them,  is  very  fine. 
When  seen  with  the  sun's  rays  off  them,  the  colors  seem  to  change,  and  assume 
a  soft  and  mellow  clearness." 

The  action  of  the  brightest 
sun,  or  the  most  intense  frost, 
has  no  influence  upon  the  col- 
ors of  these  designs,  and  the 
effects  produced  are  really 
charming.  Old  mediaeval  de- 
signs, with  quaint  figures  and 
curious  borders,  copies  of  not- 
ed paintings  by  the  old  mas- 
ters ;  modern  landscapes,  and 
groups  of  figures;  graceful 
wreaths  and  garlands,  or 
bright  birds  and  gauzy-look- 
ing butterflies,  with  soft,  or 
rich,  bright  background,  and 
surrounded  by  borders  of 
beautiful  and  complicated 
figures,  are  displayed  with  a 
richness  of  tone  that  is  seen 
only  in  stained  glass  of  the 
most  rare  and  costly  kinds. 
The  process  by  which  these 
results  are  obtained  is  exceed- 
ingly interesting,  emanating 
in  France,  that  school  of  bright 
and  gay  art-work,  and  com- 
posed of  designs  of  all  varie- 
ties, in  a  kind  of  fine  chromo- 
Fig.  13.   Charity.  Diaphauie  Design.  lithograph,     in  transparent 

color ;  it  is  adapted  to  every  variety  of  pattern,  whether  arabesque,  geometrical, 
or  light  fanciful  designs  in  fruit  or  flowers.  The  effect,  M'hen  finished,  is  ex- 
tremely chaste  and  delicate ;  yet,  in  some  patterns,  the  colors  are  gorgeous  and 
superbly  beautiful. 

MATEKIALS. 

The  materials  required  are  tin-foil,  or  gold  or  silver  paper,  a  roller,  a  set  of 
brushes,  designs,  and  the  glass.  The  materials  may  be  purchased  at  about  the 
following  rates : — 


HOUSEHOLD  ELEGANCIES. 


21 


Subjects  (per  sheet  only),   |2  00 

Borderings,  ornaments  and  plain  red,   1  75 

Plain  white,  blue,  green,  yellow,  etc.,   1  50 

Tin-foil,   25 

Rollers,  per  dozen,   9  00 

Yarnish  brushes  (small),       .       .       .       .       .       .       .  1  00 

"          "       (medium  flat),   2  00 

"          "       (large,  for  re-touching),       ....  4  00 

P.  E.  Vacquerel's  Fastening  Varnish,           ....  3  00 

P.  E.  Vacquerel's  Transparent  Varnish,        ....  3  00 

Wooden  paper-knife,      •   1  00 


Materials  may  be  obtained  in  these  large  quantities  for  any  extensive  designs  ; 
but  a  sufficient  quantity  can  be  obtained  in  a  box,  complete,  containing  1  bottle 
of  fastening  varnish,  1  bottle  of  Vacquerel's  transparent  varnish,  3  different 
brushes,  1  roller,  1  knife,  for  $2.50 ;  and  single  designs  of  all  sizes  at  various 
prices. 

DIEECTIONS. 

Where  the  design  and  glass  are  of  equal  size,  no  preparation  of  the  glass  is 
necessary;  but  if  the  picture  is  smaller  than  the  object  to  be  decorated,  the 
space  between  the  design  and  edge  should  be  filled  in  with  ornamental  check  or 
diaper  pattern,  with  stripes  of  plain  colors,  and  a  rich,  ornamental  scrolling,  or 
other  border.  To  make  the  imitation  still  more  like  genuine  stained  glass,  in 
separating  the  picture  from  the  ^'grounding"  or  the  grounding''  imm  the 
"  border,"  use  tin-foil,  according  to  the  following  directions  : — "  Take  a  sheet  of 
paper,  the  exact  size  of  the  object  to  be  decorated ;  put  your  subject  or  picture 
on  exactly  the  place  where  you  wish  to  have  it  appear  on  the  glass ;  mark  its 
outlines  with  pencil  on  the  sheet  below,  and  draw  parallel  lines  to  these,  as 
wide  or  narrow  as  you  mean  to  have  the  tin-foil.  If  you  wish  to  have  tin-foil  in 
other  places,  also,  mark  its  directions  on  the  sheet  in  the  same  way,  and  in  the 
proper  places.  This  will  give  you  a  map,  as  it  were,  of  the  places  where,  on 
the  glass,  the  foil  is  to  appear.  Now,  put  the  glass  over  your  drawings,  and, 
of  course,  your  pencil-lines  will  show  directly  through,  and  leave  nothing  to 
be  done  but  to  mark  the  design  out  upon  the  glass  with  varnish,  and  apply  the 
gold-foil  or  paper,  wherever  required.  Then^  the  design  or  picture  will  fit 
exactly  into  the  net-work  of  foil. 

.  DESIGNS. 

There  are  orer  300  designs  published  for  this  art-work,  consisting  of  center 
subjects,  groundings  and  borders.  The  sheets  are  all  IG  1-2  by  20  inches,  and 
when  it  is  desired,  several  of  one  kind  can  be  used,  but  they  are  cut  in  separate 


22 


HOUSEHOLD  ELEGANCIES. 


parts,  if  desired,  and  can  be  procured  either  in  large  sheets,  or  in  those  only 
three  or  four  inches  in  length.  By  applying  to  the  proper  dealers,  catalogues 
may  ba  procured  containing  full  descriptions  of  illustrations  of  all  the  designs. 
In  the  description  of  lamp-shades,  screens,  etc.,  we  have  given  directions  for 
some  of  the  combinations  that  we  have  either  applied  ourselves  or  seen  others 
form,  and  we  can  assure  our  readers  that  those  who  have  never  seen  this 
elegant  work  have  a  rich  treat  in  store ;  for,  without  the  slightest  exaggeration, 
W3  can  say  that  we  have  never  seen  the  beauty,  softness  and  brilliancy  of  these 
designs  rivaled,  even  by  the  finest  specimens  of  stained  glass. 

We  give  a  few  illustrations  of  different 
styles  of  these  designs ;  but  it  must  be 
borne  in  mind  that  these  are  necessarily 
small  and  indistinct,  and  no  adequate  idea 
of  the  exquisite  beauty  of  the  work  can  be 
given  by  any  engraving,  as  it  is  the  power 
of  light  (as  in  stained  glass)  that  brings 
out  either  the  peculiar  brilliancy  or  sub- 
dued softness  of  color  in  the  perfectly 
transparent  pictures. 

We  have  recently  adopted  another 
method  of  applying  these  pictures,  which, 
we  understand,  is  now  practiced  in  Europe 
altogether,  and  gives  even  greater  satis- 
faction than  the  one  already  described, 
inasmuch  as  in  the  former  mode  the  tissue- 
paper  remaining  with  the  color  upon  the 
glass,  intercepted  (in  a  measure)  the  clear  Fig.  U.  Design  of  Group  of  Flowers, 
light ;  whereas,  in  the  improved  plan,  the  color  is  transferred  alone  upon  the 
glass  (as  in  Decalcomania),  and  the  tissue-paper  removed.  The  latter  course 
requires  both  skill  and  judgment,  but  we  believe  we  may  say  "  it  pays ;"  and 
as  we  desire  to  describe  everything  that  is  pronounced  new  and  beautiful,  we 
will,  at  least,  describe  the  more  artistic  method,  and  leave  it  with  our  readers  to 
choose  for  themselves, — either  mode  producing  pictures  sufficiently  lovely  to 
give  satisfaction. 

In  the  first  place,  be  very  certain  that  the  glass  to  be  ornamented  must  be 
faultlessly  clean,  and  free  from  all  spots  and  blemishes ;  then  lay  it  flat  upon  a 
folded  cloth,  and  trace  the  outline  with  a  pencil-line ;  the  portion  above  the 
central  design  and  border  are  to  be  cut  out  as  before  explained.  The  lead-foil 
we  then  cut  into  strips  about  one-eighth  of  an  inch  in  width  (though  this 
depends  upon  the  size  of  the  panel  or  glass).  This  foil,  we  would  here  observe, 
is  to  give  the  effect  of  white  glass,  which  forms  the  border  to  the  majority  of 
fine  stained-glass  windows,  and,  when  put  on  clear  glass,  is  quite  transparent. 


HOUSEHOLD  ELEGANCIES. 


23 


Then  place  the  glass  upon  the  pat- 
tern, as  shown  in  figure  15,  and  ce- 
ment upon  it  the  strips  of  tin-foil 
with  clear  gum  mucilage  (Traga- 
canth).  For  circles  and  other  such 
shapes,  the  strips  are  cemented  (or 
gummed),  and,  when  almost  dry, 
stretched  with  the  fingers  of  one 
hand  and  pressed  down  with  the 
thumb  of  the  other.  The  folds  and 
creases  need  cause  no  uneasiness,  as 
they  can  be  made  perfectly  smooth 
Fig.  15.  by  pressing  the  handle  of  a  knife,  or 

any  other  smooth  article,  over  the  foil,  until  flat  and  even.  Having  arranged 
the  foil,  proceed  to  place  the  design,  which  should  be  rather  larger  than  the 
foiled  spaces,  made  ready  for  their  reception,  so  that  the  foil  may  overlap  the 
edges.  Use  the  utmost  care  and  caution  in  the  part  of  the  work  to  be  now  de- 
scribed, for  on  this  depends  the  success  of  the  operation.  In  placing  the  designs, 
make  the  uncolored  part 
quite  damp,  with  a  sponge  or 
soft  cloth,  and  paint  the  glass 
and  colored  part  with  the  var- 
nish ;  then  place  it  directly  in 
position,  press  carefully  with 
a  damp  pad  by  patting  it 
gently   over  the  whole  sur- 


face; then,  placing  the  roller 
in  the  center,  pass  it  down  to 
the  edge;  then,  replacing  it 
again  in  the  center,  roll  up- 
ward, and  continue  this  over 
all  four  sides  until  every  air- 
bubble  is  expelled  and  all  sur- 
plus varnish.  (Great  care 
must  be  taken  that  no  air- 
bubbles  remain  between  the  Fig.  16.  Border  and  Circles, 
glass  and  the  paper,  and  the  latter  must  be  kept  damp  while  the  operation  is 
carried  on,  for  if  the  cement  becomes  dry  the  transparency  will  be  destroyed,  as 
soon  as  the  clearing  varnish  is  applied.) 

After  rolling  perfectly  flat,  set  the  work  away  for  two  or  three  days. 

The  next  step  is  to  remove  the  paper,  and  this  requires  the  utmost  care. 
Take  a  damp  napkin  and  lay  on  it ;  then,  with  a  spoon,  add  sufficient  water  to 


24 


HOUSEHOLD  ELEGANCIES. 


make  the  whole  wet,  but  not  sufficiently  so  to  drip.  Now  lift  the  napkin,  and,with 
a  soft  rag  or  sponge,  commence  wiping  off  the  paper,  using  a  rolling  motion,  keep- 
ing the  work  damp.  This  part  requires  unusual  circmnspection,  lest  any  undue 
pressure  destroys  the  colors,  at  that  particular  time  when  the  paper  is  removed 
from  directly  over  the  colors,  as  they  are  then  liable  to  be  scratched  or  rubbed  off. 

All  the  paper  removed,  dry  thoroughly,  and  apply  a  thin  coat  of  clearing  var- 
nish ;  allow  this  to  dry,  and  then  re-foil  the  work  over  the  edges  of  the  trans- 
ferred picture,  following  the  lines  of  the  first  foiling,  and  proceeding  as  before 
described.  Then  allow  the  work  to  become  perfectly  dry ;  when  give  a  coat  of 
finishing  varnish,  and,  when  dry,  repeat  it,  and  allow  to  become  dry  and  hard 
before  putting  in  position.  This  work  is  lovely  on  silk,  as  screens  or  shades  ;  also 
on  muslin  for  window-shades,  the  material  being  stretched  tightly  on  a  frame. 


Fig.  17.  Design  for  Window.  Fig.  18.   Design  for  Window. 

If  the  learner  of  the  Diaphanic  Art  pays  close  attention  to  the  directions 
here  given,  and  is  exact  in  following  the  rules,  there  will  be  no  trouble  in 
obtaining  perfect  results  and  becoming  proficient  in  this  elegant  art,  which 
affords  such  rare  facilities  for  adorning  the  tasteful  home. 

METHOD  OF  APPLYING  THE  DESIGNS. 

Apply  a  thick,  even  coat  of  "  Yacquerel's 
Fastening  Varnish  "  to  the  right  side  of  the 
design,  fasten  it  once  on  the  inside  of  the 
glass,  and,  to  prevent  the  design's  breaking 
or  cracking,  cover  it  with  a  piece  of  blot- 
ting-paper, which  must  be  slightly  moistened. 
Now,  place  your  left  hand  on  the  center  of 
the  covered  design  to  prevent  its  moving, 
take  the  roller  into  your  right  hand  and 
press  the  picture  down  wdth  it,  commencing 
at  the  center,  proceeding  to  the  corners,  etc., 
which  causes  the  superfluity  of  varnish  to 


Fig.  19.   Applying  tlie  Design. 


HOUSEHOLD  ELEGANCIES. 


25 


ooze  out  at  the  edges,  and  so  removes  all  the  air-bubbles.  Do  this  thoroughly. 
Then,  remove  the  blotting-paper  carefully,  and  leave  the  picture  to  dry  thor- 
oughly. 

This  done,  apply  a  coat  of  Vacquerel's  Transparent  varnish  with  a  flat 
camel's-hair  brush,  and  the  work  is  completed. 

yiTEEMANIE. 

We  have  spoken  in  enthusiastic  praise  of  the  art  Diaphanie,  and,  for  various 
purposes,  it  will  be  found  unexceptionable ;  but,  as  regards  the  decoration  of 
windows,  the  recent  introduction  of  Vitremanie  is  still  more  likely  to  super- 
sede it. 

This,  like  DiapJianie,  is  the  art  of  ornamenting  glass  windows  by  the  applica- 
tion of  colored  designs,  so  as  to  resemble  stained  glass  of  the  finest  quality ;  and 
is  at  once  so  brilliant  and  useful  that  we  feel  confident  it  will  become  popular 
in  every  home  of  taste  and  refinement.  Those  of  cultivated  taste,  who  take 
delight  in  adding  to  the  attractions  of  home  by  works  of  ingenuity  and  beauty 
of  their  own  production,  will  find  the  art  of  Vitremanie,  as  now  to  be  described, 
a  most  valuable  and  desirable  acquisition.  First,  as  regards  utility,  Vitremanie 
may  be  applied  as  a  means  of  excluding  unpleasant  views,  as  an  ornament  for 
transparencies,  to  cover  the  deficiencies  of  an  otherwise  homely  window,  or  to 
adorn  glass  shades  for  lamps  or  lanterns.  There  can  be  no  question  of  the 
superior  advantages  of  this  mode  of  forming  a  screen,  compared  to  the  ordinary 
blind,  which  "  lends  no  enchantment  to  the  view,"  obscures  the  light,  and  must  be 
frequently  renewed ;  whereas  this  art  presents  to  the  eye  any  amount  of  variety 
of  ornamentation,  whether  of  glowing  landscape,  gorgeous  mosaic,  blooming 
flowers,  etc.,  and  from  the  mediieval  designs  of  ancient  times  to  the  conven- 
tional bouquet,  etc. ;  or  groups  and  scenes  of  the  present  day.  It  is,  also,  so  clear, 
that  the  sunlight  pierces  it  unobstructed,  and  is,  besides,  so  durable  that,  once 
transferred,  the  pictures  are  there  forever.  For  churches,  and  other  public 
buildings,  this  art  is  fast  superseding  that  of  stained  glass ;  but  our  object  in 
writing  upon  this  subject  is  to  induce  ladies  to  adorn  their  homes  by  means  of 
these  charming  designs.  "Pictures  have  voices  that  the  soul  can  hear,"  and 
these  window-pictures  may  be  a  daily  word  of  wisdom  that  will  speak  openly 
to  every  member  of  the  household  "on  sacred  or  historic  themes,  or  the 
beauties  of  creation." 

MATEEIALS,  Etc. 

These  consist  of  the  sheets  of  designs,  like  those  of  Diaphanie,  sheets  of  lead- 
foil,  a  bottle  of  glucine,  a  bottle  of  enamel  varnish,  a  roller  (or  pad)  and  vessel 
of  water. 

PEEPAEING  THE  DESIGNS. 

Coat  the  face  of  the  designs  you  propose  to  use,  with  glucine,  using  the  flat 


26 


HOUSEHOLD  ELEGANCIES. 


Fig.  20.  Tlie  Lord's  Supper.   Church  Window. 


HOUSEHOLD  ELEGAKCIES. 


27 


hog's-hair  brush  (care  beiiig  taken  not  to  touch  the  plain  side),  and  allow  them 
to  dry  for  three  days,  when  they  are  ready  for  use. 

The  designs,  after  this  preparation,  remain  good  for  any  period  of  time. 

DEAWING  THE  PLAN  AND  APPLYING  THE  LEAD-FOIL. 

Make  a  drawing  on  paper,  of  the  exact  size  of  the  pane  or  panel  of  glass, 
drawing  a  pencil  line  wherever  a  join  takes  place,  either  in  a  border,  grounding, 
or  subject,  as  a  guide  for  putting  on  the  lead-foil. 

The  foil  is  sold  in  sheets,  and  is  cut  with  a  sharp  knife  into  strips  of  about 
a  quarter  of  an  inch  in  width.  The  glass  is  then  placed  flat  upon  the  outlined 
paper,  and  the  operation  of  leading  commences  by  the  application  of  the  strips, 
coated  with  strong  gum,  to  the  glass,  over  all  the  lines  marked  out  in  the  plan. 

This  completed,  the  glass  should  be  left  for  about  an  hour,  to  allow  the  foil 
to  become  thoroughly  cemented  to  it.  The  creases,  occasioned  by  the  curves 
and  other  shapes,  may  be  flattened  by  smoothing  down  with  the  handle  of  a 
molding  tool,  or  head  of  the  pin,  using  it  wet.  An  agate  burnisher,  however, 
is  much  more  effective.  The  foil,  being  pliable,  may  be  stretched  into  almost 
any  shape,  with  the  fingers  of  one  hand,  and  pressed  down  to  the  glass  with  the 
thumb  of  the  other. 

We  next  come  to  the  placing  on  of  the  designs,  which  in  all  cases  should  be 
slightly  larger  than  the  spaces  prepared  for  them,  i.  e.,  they  should  be  so  cut, 
that  the  edge  of  the  paper  just  reaches  the  center  of  the  foil. 

APPLICATION  OF  THE  DESIGNS. 

Wet  the  foiled  side  of  the  glass,  and  both  sides  of  the  picture,  with  clean,  cold 
water  (for,  when  practicable,  as  in  small  pieces,  it  is  better  to  immerse  the  de- 
signs in  water,  for  a  moment),  and  press  it  firmly  down  to  the  glass  by  means 
of  the  roller  or  a  pad,  and  after  allowing  it  to  remain  thus  for  a  few  minutes,  in- 
sert the  point  of  a  penknife  under  one  corner  of  the  paper,  when  it  may  be  re- 
moved entire,  leaving  only  the  colors  upon  the  glass  (it  is  easier  with  large 
designs,  to  carefully  scratch  a  hole  in  the  center,  and  commence  taking  the  pa- 
per oft:  from  there).  The  film  of  color  on  the  glass  should  now  be  washed  with 
the  camel's-hair  brush  and  cold  water,  and  the  superfluous  moisture  taken  up, 
by  placing  a  sheet  of  fine  tissue-paper  over  it,  and,  by  rolling  and  patting  it  out 
well,  the  film  of  color  will  be  found  to  have  adhered  to  the  glass. 

When  dry,  extra  strips  of  lead-foil  are  again  cemented  over  the  first  ones, 
thiis  placing  the  edges  of  the  designs  between  the  two  strips. 

When  this  second  application  of  foil  is  dry,  with  the  other  hog's-hair  brush, 
varnish  the  whole  of  the  covered  surface  with  enamel  varnish,  and,  when  this 
has  become  hard,  the  work  is  complete,  and  ready  for  fixing.  After  the  varnish 
has  become  dry,  a  second  coating  of  the  same  increases  the  brilliancy  of  the 
work ;  but  this  is  optional. 


28 


HOUSEHOLD  ELEGANCIES. 


Figure  20  shows  a  sample  of  the  church-window  designs.  The  subject,  "  The 
Last  Supper,"  surmounted  by  an  angel.  The  shape,  size,  etc.,  may  be  altered 
to  suit  certain  circumstances. 

A  set  of  sheets,  twelve  pictures  in  each  sheet,  three  and  a  quarter  inches  in 
diameter,  are  specially  adapted  to  the  magic  lantern ;  some  of  sacred  character, 
others  of  landscapes,  scenes,  groups,  and  grotesque  representations,  such  as, 
"  Old  Mother  Hubbard,"  "  The  House  That  Jack  Built,"  etc. 


FANCY  WORK 

WITH 

Leaves,  Flowers  and  Grasses. 


CHAPTER  II. 


PHANTOM  LEAVES,  FLOWERS  AND  BOUQUETS. 


The  old  and  unpleasant  name  of  "  skeleton  "  has  been  applied  to  these  beauti- 
ful objects  for  so  many  years,  that  some  persons  know  them  by  no  other  title  ; 
still  we  believe  that  the  more  beautiful  appellation  of  "  phantom  leaves  "  will 
soon  become  popular,  and,  therefore,  give  it  at  the  head  of  this  section. 

Though  but  little  known  until  the  past  six  years,  this  art  is  not  a  new  one ; 
which  statement  will  doubtless  prove  a  surprise  to  many  of  our  readers.  Yet, 
as  early  as  the  year  16  io,  an  anatomist  in  Naples  published  a  figure  of  a  skeleton 
leaf,  which,  even  in  that  day,  created  great  interest  and  curiosity ;  and  many  at- 
tempts were'  ineffectually  made  to  discover  the  secret,  which,  upon  the  death  of 
the  artist,  was  for  the  time  entirely  lost. 

About  seventy  years  after,  however,  a  Dutch  anatomist  turned  his  attention 
to  the  subject,  and,  having  obtained  skeletons  of  animals  by  allowing  insects  to 
eat  away  the  flesh  until  only  the  frame  was  left,  he  made  an  attempt  to  obtain 
vegetable  or  leaf  skeletons  in  the  same  way,  but,  of  course,  failed.  He  then  tried 
other  methods  and  finally  succeeded  in  procuring  some  specimens  by  mascera- 
tion,  which  were  so  beautiful  that  others  began  to  experiment,  in  order  to  dis- 
cover his  secret ;  which,  finding  he  could  no  longer  keep  hidden,  he  finally  pub- 
lished in  1727 ;  and  this  is  the  old  method  (and  perhaps  best  one)  which  we  now 
use.  We  will  give  this  process  first,  both  on  account  of  its  age,  and  also  be- 
cause it  is  the  safest  and  most  likely  to  prove  successful.  The  first  step  in  the 
process  is  the  gathering  of  the  leaves,  which  is  best  accomplished  during  the 


30 


HOUSEHOLD  ELEGANCIES. 


months  of  J une  and  J uly ;  as  at  this  season  they  are  in  the  most  perfect  condi- 
tion. Still,  there  are  some  varieties  which  must  of  course  be  collected  at  other 
periods,  and  the  seed-vessels  and  those  blossoms  and  other  parts  of  the  plant 
which  are  used  to  make  variety,  must  be  gathered  at  the  time  when  they  are 
in  the  most  proper  condition. 

As  these  collections  are  made,  the  leaves  should  be  at  once  laid  between  the 
leaves  of  a  book ;  and,  as  soon  as  possible  after,  subjected  to  a  certain  amount  of 
pressure.  A  large  number  of  leaves  should  be  gathered  in  preference  to  a  few, 
and  care  must  be  taken  to  select  those  that  are  quite  perfect,  as,  unless  the  speci- 
mens are  perfect,  the  result  will  not  be  satisfactory ;  indeed,  such  care  is  neces- 
sary in  this  particular,  that,  even  a  scratch  or  broken  edge,  or  a  blotch  or  small 
perforation,  will  render  the  skeleton  imperfect.  The  leaves  must  also  be  well 
matured  (young  leaves  should  be,  with  few  exceptions,  entirely  rejected),  and 
they  should  be  picked  from  the  lower  part  of  the  branch,  not  at  the  top,  where 
they  are  not  perfectly  developed.  Notice,  too,  whether,  from  the  effects  of  the  sun 
and  wind,  the  edges  are  curled  or  otherwise  imperfect ;  and  those  that  have  a 
tough,  leathery  texture,  will  not  answer.  A  good  plan  for  determining  the  state 
of  a  leaf  is  to  hold  it  up  to  the  light,  when  a  defect  is  very  readily  seen.  Ever- 
greens are  good,  and  may  be  picked  late  in  the  Autumn,  though  due  regard 


must  be  had  to  the  age  of  the 
leaf.  It  is  almost  impossible  to 
give  a  list  of  leaves  available  for 
this  purpose,  as  the  numl)er  is 
"legion."  We  will  suggest  a 
few,  however,  and  beyond  that, 
the  woods,  fields,  gardejns,  and 
green-houses  will  constantly  af- 
ford fresh  subjects.  All  poplar 
leaves  may  be  said  to  be  easy 
to  make ;  the  silver  poplar,  Fig. 
2,  is  especially  so ;  the  aspen,  also, 
Fig.  3.  The  apple  and  pear  of 
the  orchard,  the  crab-apple  of 


I  the  woods,  and  the  various  ivies, 


Fig.  1.  Leaf  of  Poplar. 


Fig.  5,  are  as  beautiful  as  easy. 
The  willow,  Fig.  8,  requires  some 
care,  as  it  is  very  delicate ;  gath- 
ered early,  it  decays  quickly. 
The  maple,  another  exceedingly 
beautiful  leaf,  must  be  gathered 
young,  and  carefully  mascerated ; 
watching  it  closely,  and  cleaning 


HOUSEHOLD  ELEGANCIES.  31 

with  a  stiff  brush  and  the  tapping  motion.  The  Camellia,  Orange,  and  Lemon, 
Abutilon,  Wisteria,  and  some  Rose  leaves,  form  a  fine  addition;  also,  Holly, 
Lilac,  and  Honeysuckle.  Various  seed-vessels  are  extremely  beautiful,  and  easily 
prepared;  but  they  must  be  treated  by  themselves.  The  Stramonium,  Garden 
Poppy,  Winter  Cherries,  Thorn  Apple,  Fig.  4,  the  Wild  Poppy,  Canterbuiy 
Bell,  the  Columbine,  African  Hibiscus,  etc.,  are  all  lovely,  when  well  prepared 
and  gracefully  arranged. 

Scotch  Grass  and  Ferns,  and  many  of  our  wild,  as  well  as  cultivated  grasses, 
Ferns  and  Lycopodiums,  when  bleached  (after  growing  brown  in  the  fall),  are 
lovely.  Take,  also,  brown,  dry,  and  well-formed  twigs  and  branches  of  delicate 
trees,  and  bleach  them  perfectly  white,  as  additions  to  some  of  the  stemless 
leaves,  and  seed-vessels. 

Another  charming  addition  to  such  a  collection  is  a  quantity  of  thistle-dov/n, 
which  must  be  gathered  into  little  bunches,  and  placed  within  a  clover-leaf ;  first 
touching  the  base  with  a  drop  of  size  or  paste,  and  fastening  the  leaves  around. 
Another  object  which  produces  a  light  and  fine  effect  are  those  seed-vessels, 
which  contain  downy  seed,  and  are  of  small  size ;  such  as  the  Lettuce,  Cacalia, 
and  many  other  garden  and  wild  flowers,  which  may  be  secured  before  the  seed 
is  carried  away  by  the  wind.  After  gathering,  either  paint  with  flake-white, 
or  bleach  by  applying  chloride  of  lime  with  a  brush,  and  then  rinsing.  The  col- 
lections of  all  the  various  specimens 
having  been  made,  next  proceed  to  mas- 
cerate  the  leaves,  by  placing  them  in  an 
open  vessel, — a  tub  or  pan,  or  other  con- 
venient receptacle,  covering  several 
inches  above  the  leaves  with  rain  water, 
and  placing  in  the  open  air  and  full  sun- 
light. Place  a  pane  or  two  of  glass,  Or  a 
light  china  plate  over  them,  with  a 
weight  sufficient  to  keep  them  well  down 
in  the  water,  the  loss  of  which  by  evapo- 
ration, must  be  made  up,  by  adding  a 
new  supply  from  time  to  time,  as  re- 
quired. In  about  two  weeks  they  may 
be  examined,  and,  if  any  are  found  soft 
and  pulpy,  these  must  be  removed.  After 
this,  those  that  remain  should  be  ex- 
amined once  or  twice  a  week,  removing 
the  soft  ones  each  time,  and  proceeding 
to  cleanse  them.  This  is  the  most  un- 
pleasant part  of  the  entire  operation,  inasmuch  as  when  the  water  is  disturbed 
for  the  purpose  of  examination,  the  odor  of  the  decaying  vegetable  matter  is 


Fig.  2.   Silver  Poplar. 


32 


HOUSEHOLD  ELEGANCIES. 


Fig.  3.  Aspen. 


most  unpleasant,  and  the  leaves  themselves 
are  absolutely  so  disgusting  in  their  filthy 
sliminess,  that  if  it  were  not  for  the  exqui- 
sitely beautiful  results  to  be  accomplished 
by  persevering  in  this  unpleasant  operation, 
one  would  determine  at  once  to  "have 
done  with  it."  But  it  is  so  well  worth  all 
the  disagreeable  parts  of  the  experiment 
to  possess  in  the  end  a  collection  of  those 
gossamer  leaves,  that  we  feel  "in  duty 
bound  "  to  urge  upon  our  readers  the  im- 
portance of  persevering  in  this  work, 
which,  we  can  assure  them,  they  will  never 
regret.  After  arriving  at  this  stage  of  the 
proceeding,  the  finding  the  leaf  in  a  pulpy  condition,  it  is  to  be  removed  to  a 
vessel  or  basin  of  clear  water,  which  should  be  done  most  carefully,  to  pre- 
vent breaking  or  marring  them,  and  this  is  best  accomplished  by  slipping  a 
card  beneath  the  leaf,  and  causing  it  to  float  upon  it,  by  leaning  the  vessel 
to  one  side,  and  inducing  the  leaf  to  float  to  the  deepest  part  of  the  water, 

when  it  may  be  easily  rested  upon  the  card, 
and  thus  removed.  Then,  when  immersed 
in  the  basin  of  clear  water,  it  will  float  off 
uninjured.  Without  using  this  precaution, 
the  typo,  in  the  art  of  skeletonizing,  will  be 
almost  certain  to  allow  the  leaves  to  break 
by  their  own  weight. 

The  cleaning  part  of  the  operation  now 
commences,  for  which,  two  or  three  brushes 
and  a  sharp-pointed  knife  are  necessary ;  a 
soft,  but  thick  camel's-hair  brush,  a  stilf 
bristle  brush,  and  a  tooth  brush.  A  leaf  is 
lifted  out  of  the  water  upon  a  card,  and  slid 
of£  upon  a  piece  of  smooth  glass,  or,  perhaps, 
floated  directly  upon  the  glass ;  then,  with  the 
soft  brush  gently  passed  over  the  surface, 
all  the  pulp  is  removed,  aiding  the  brush- 
ing with  a  stream  of  water,  poured  carefully 
over.  Slip  the  leaf  again  into  the  water,  turn  it,  and  again  float  upon  the  glass, 
cleaning  the  opposite  side  in  the  same  manner.  The  green  surface  must  be  en- 
tirely removed,  until  nothing  but  the  skeleton  of  fibrous  veins  remain.  If  this 
is  not  accomplished  by  using  merely  the  soft  brush,  the  stiffer  one,  or  the  tooth 


Fig.  4.   Thorn  Apple. 


HOUSEHOLD  ELEGANCIES. 


33 


brush  must  be  applied ;  and  in  case  of 
soma  strong  leaves,  a  sort  of  gentle  scrub- 
bin//  becomes  necessary,  and  does  not  in- 
jure the  texture  of  the  skeleton,  but  this 
is  rare.  The  motion  used  in  cleaning 
must  not  be  a  sweeping  one,  but  rather 
a  downward  tapping,  which  breaks  up 
the  connection  of  the  epidermis,  without 
destroying  the  fibers.  As  the  leaves  are 
cleaned,  they  must  be  immersed  in  an- 
other basin  of  clear  water,  and  left  until 
the  remainder  are  all  cleansed,  or  until 
a  convenient  season  arrives  for  bleach- 
ing them.  This,  however,  should  be  done 
as  soon  after  the  cleansing  as  possible. 

Some  experienced  operators  prefer  the  "  Quick  Method,"  as  it  is  called,  of  pre- 
paring these  skeleton  leaves.  This  consists  in  using  a  caustic  to  destroy  the  epi- 
dermis of  the  leaf,  and  is  used  thus  :  Dissolve  four  ounces  of  sal-soda  in  one 
quart  of  boiling  water,  adding  two  ounces  of  air-slacked  quick-lime,  and  boiling 
fifteen  or  twenty  minutes.  Allow  this  to  cool,  and,  straining  off  the  clear  liquid, 
boil  it  again,  and  add  the  leaves,  continuing  to  boil  briskly  for  an  hour  or  more, 
adding  boiling  water  if  required.    Remove  a  leaf,  and  put  it  into  a  vessel  of  water, 

rubbing  it  gently  with  the  fingers  ;  if  the  epider- 
mis and  parenchyma  separate  easily,  the  remain- 
der of  the  leaves  may  be  removed ;  but  if  not. 
the  boiling  in  the ,  lye  must  be  still  further  con- 
tinued. 

By  either  process,  the  leaves  are  now  ready  for 
the  bleaching,  which  is  done  in  various  ways. 
The  best,  perhaps,  is  with  a  solution  of  chloride 
of  lime,  and  immersing  them,  for  a  day  or  two, 
in  a  covered  glass  dish,  placed  in  a  dai  k  closet, 
covering  closely  with  a  folded  towel.    The  solu- 
tion of  chloride  lime  is  made  with  one  table-spoon- 
ful of  chloride  of  lime  in  a  quart  of  water,  adding 
a  few  grains  of  citric  acid,  shaking  well,  until 
entirely  dissolved,  then  decanting  the  clear  liquid, 
and  bottling  for  use. 
Some  experienced  operators  prefer  using  chloride  of  soda  as  a  finer  prepara- 
tion.   Any  scientific  druggist  will  be  able  to  prepare  a  fine  solution  of  this,  but 
for  those  who  have  not  the  opportunity  of  obtaining  the  article  already  prepared, 
we  give  the  formula,  as  furnish  3d  us  by  a  practical  and  successful  pharmaceutist : 


Fig.  7.   Group  of  Skeleton  Leaves  for  a  Glass  Shade. 


HOUSEHOLD  ELEGANCIES. 


35 


Obtain  twelve  ounces  of  carbonate  of  soda,  chlorinated  lime,  six  ounces,  water, 
three  quarts ;  dissolve  the  soda  in  a  pint  and  a  half  of  water,  with  the  aid  of 
heat ;  triturate  the  lime  gradually  with  water,  until  a  smooth,  creamy  liquid  is 
formed ;  into  this  stir  the  remainder  of  the  water,  and  put  aside  for  twelve  hours, 
until  perfectly  settled. 


Fig.  8.    Willow  Loaf. 

The  following  day,  pour  off  the  clear  liquid,  and  turn  the  residue  into  a  muslin 
bag  to  drain,  adding  a  little  water  from  time  to  time.  When  sufficient  liquid  has 
passed  off  to  make  altogether  two  quarts,  mix  with  it  the  solution  of  carbonate 
of  soda,  stirring  it  until  thoroughly  blended.  Transfer  this  mixture  to  a  fun- 
nel, lined  with  paper,  and  allow  it  to  drain  until  five  pints  of  liquid  have  perco- 
lated through  the  paper.  Pour  this  into  an  opaque  bottle,  which,  keep  tightly 
corked. 

When  using  this  bleaching  fluid,  which  is  extremely  powerful,  it  should  be 
diluted  with  from  three  to  six  times  the  quantity  of  water  (soft),  according  to 
the  texture  of  the  leaves  to  be  bleached. 

After  bleaching  the  leaves,  by  either  process,  they  should  be  placed  in  a  vessel 
of  clear,  cool  water,  for  twenty-four  hours,  floated  off  upon  a  card,  and  turned 
over  upon  a  soft  napkin,  gently  pressed  with  some  old  soft  linen,  until  all  moist- 
ure is  absorbed,  and  then  curled  gracefully,  or  pressed  between  the  leaves  of  an 
old  book,  under  pressure.  They  are  now  sufficiently  strong  to  bear  handling, 
with  ordinary  care,  and  can  be  arranged  to  suit  the  taste,  either  on  a  stand  under 
a  glass  shade,  or  in  a  deep  recess  frame.  In  case  the  latter  mode  is  adopted,  the 
recess  should  be  lined  with  dark-colored  velvet.  A  black  cross,  covered  with  these 
leaves,  is  a  lovely  object ;  a  beautiful  arrangement  of  these  leaves,  seed-vessels, 
etc.,  are  shown  in  the  illustration  ;  and  it  is  very  beautiful  at  the  base  of  a  ctoss, 
or  in  a  frame.  In  the  former,  a  delicate  vine  of  Ivy  should  extend  from  it  up 
over  the  body  and  arms  of  the  cross. 

We  would  observe,  before  closing,  that  leaves  containing  tannin  should  never 
be  placed  with  others.  The  Oak,  Hazel,  and  many  others,  are  of  this  class.  A 
method  sometimes  adopted  with  some  of  this  class,  the  oak  especially,  is  to  place 
a  number  of  the  caddis  worms  with  them,  which  eat  away  all  the  soft  green 
part  of  the  leaf,  leaving  the  skeleton  entire. 

Holly  leaves  are  beautiful,  but  must  be  also  prepared  alone,  on  account  of  the 
spines.  Ferns  and  fine  grasses  are  very  difficult  to  arrange,  as  their  feathery 
fronds  are  liable  to  curl,  and  must  be  most  carefully  coaxed  into  position.  The 
best  mode  of  accomplishing  this  part  of  the  business,  is  to  float  the  leaves  off 


\ 


Fig.  9.   An  Ivy-Leaf  Cross.   Design  in  Skeleton  Leaves. 


HOUSEHOLD  ELEGANCIES. 


37 


upon  pieces  of  card ;  then,  while  damp,  with  a  needle  and  camel's-hair  brush,  so 
arrange  each  tiny  leaflet,  placing  the  sprays  in  natural  position,  and  so  dis- 
tributing the  various  fronds  that  they  form  graceful  and  natural  groups.  Then 
lay  them  under  folds  of  soft  paper,  pressing  gently  upon  the  surface,  to  extract 
the  moisture ;  as  soon  as  sufficiently  dry,  lay  each  card  between  sheets  of  tissue- 
paper,  place  newspapers  over  and  under,  and  place  under  weights.  This  is  a 
good  method  of  drying  any  fine  leaves. 

When  dry,  the  papers  may  be  removed  by  pressing  upon  the  under  side,  and 
raising  the  edges  with  the  point  of  a  knife. 

Clover-leaves,  of  various  sizes,  will  be  found  to  form  beautiful  bells,  imitating 
Lily  of  the  Valley,  by  fastening  the  edges  together  with  a  white  stamen  in  ths 
center.  Very  small  ones  are  necessary  for  this  purpose.  The  large  ones,  used 
singly,  may  be  made  to  appear  like  Lilies,  Campanula,  etc. 

The  long  feather-like  grasses,  when  bleached,  are  a  fine  addition  to  these  bou- 
quets, and,  by  placing  parts  of  them  as  centers,  with  certain  small  leaves  around 
very  many  varieties  of  flowers  and  buds  can  be  imitated,  that  will  prove  ex- 
tremely effective. 

These  arrangements  of  Phantom  flowers  are  not  only  charming  in  themselves, 
but,  on  account  of  the  difficulty  in  making  them,  are  of  inestimable  value. 

We  introduce  here  a  beautiful  design.  Fig.  9,  which  is  constructed  as  follows  : 
Get  a  plain,  wooden  cross  made  in  form  like  the  one  here  figured,  but  of  as  large 
-size  as  yoii  choose,  and  cover  it  with  black  velvet.  This  part  of  the  work  must  be 
done  very  neatly,  indeed.  The  velvet  must  be  cut  exactly  and  evenly.  A  cor- 
rect measurement  should  be  made,  previously,  of  the  width  required,  and  then 
the  velvet  should  be  stretched,  tightly  and  evenly,  over  the  wood.  No  wrinkles 
should  ruffle  the  flat  surface,  and  this  blemish  you  will  find  difficult  to  avoid  if 
the  material  is  not  cut  straight,  and  if  the  right  way  of  the  stuff— is,  the  sel- 
vedge way — is  not  taken  for  the  length.  When  the  cross  is  ready  for  further 
adornment,  twine  a  wreath  of  ivy-leaves  around  it,  and  let  ferns  lie  at  the  base. 
Now,  how  can  this  be  done  ?  Twigs  won't  bend  ;  bleached  branches  will  be  too 
brittle  for  this  purpose.  We  must  have  recourse  to  a  little  deception.  Get 
some  very  coarse  croche^  cotton,  and  stiffen  it  with  gum.  When  dry,  this  will 
be  pliable  enough  for  your  purposes,  and  will  suit  the  requirement  admirably- 
well.  Put  the  would-be  stalk  half  way  up  the  middle  rib,  at  the  back  of  the 
leaf,  and  fasten  it  with  the  dissolved  isinglass.  The  making  of  the  wreath  re- 
quires great  nicety,  as  you  will  perceive,  but  the  effect  of  the  whole  work,  when 
completed,  is  very  ornamental,  indeed. 

AUTUMN  LEAVES.— PEESEEVATION.—PEETTY 
AEKANGEMENTS. 
Those  who  have  experimented  in  pressing  and  preserving  autumn  leaves,  by 
means  of  varnishing,  ironing,  etc.,  are  aware  of  the  fapt  of  their  work  proving 


38 


HOUSEHOLD  ELEGANCIES. 


unsatisfactory,  from  the  fact  of  their  changing  color,  becoming*  spotted,  curling 
at  the  edges,  etc. 

Now,  for  the  past  year  or  two,  we  have  followed  a  dilf erent  course ;  and  our 
success  has  been  so  signal,  that  we  feel  glad  to  mention  our  method  to  our  read- 
ers, in  hopes  of  their  testing  it  with  as  much  satisfaction  as  we  have  done. 

As  soon  as  the  trees  begin  to  change  their  livery  in  the  Autumn,  begin  mak- 
ing collections  of  all  the  various  colors  and  shades  of  color,  as  the  leaves  gathered 
early  always  retain  their  color  the  longest.  Gather  as  large  a  supply  as  possi- 
ble, as  it  is  always  desirable  to  have  a  large  number,  and  good  variety,  from 
which  to  make  selections.  Large  leaves  work  up  well  on  large  panels ;  such  as 
foldbig-screens,  tables,  etc.,  in  imitation  of  Japanese  work;  and  small  leaves 
and  sprays  are  valuable  for  fine  work,  and  also  for  bouquets. 

Old  books  are  best  as  a  receptacle  for  drying.  We  use  old  Patent  Office  Ee- 
port  books,  and  others  of  similar  character ;  and  some  files  of  old  newspapers,  and 
magazines  are  invaluable.  "  Blank-book  "  paper  is  too  stiff  to  answer  well,  still 
such  can  be  made  available  in  case  of  nec^sity.  Commence  placing  the  leaves 
at  the  back  part  of  the  book,  laying  each  one  smoothly,  and  never  allowing  them 
to  touch  each  other,  nor  placing  too  many  on  one  page ;  turn  five  or  six  pages 
upon  these,  and  place  another  layer ;  continuing  this  until  the  book  is  full. 
Then  place  in  a  cool,  dry  place,  under  a  heavy  weight  for  twenty-four  hours,  or 
until  the  following  day,  when  remove  to  dry  books,  and  again  place  under  press- 
ure as  before.  This  change  is  made  three  times  in  all,  and  after  the  last,  they 
remain  in  press  for  several  days,  when  they  will  be  found  in  beautiful  condition, 
and  ready  to  arrange. 

Then  procure  some  cake-wax,  such  as  is  used  for  "  fruit  molding ;  "  put  it 
in  a  vessel,  and  set  that  in  a  pan  of  water  upon  the  stove ;  when  melted,  add 
to  it  a  few  drops  of  turpentine  or  fir  balsam,  in  order  to  render  the  wax  pliable ; 
by  which  means,  the  leaves  can  be  bent  into  any  form  desired.  If  the  wax  is 
in  the  proper  condition,  the  process  may  be  continued,  and  this  is  best  ascer- 
tained by  dipping  a  leaf  and  drawing  it  over  the  edge  of  the  pan  upon  both 
sides ;  hold  it  up  by  the  stem  with  the  face  up,  horizontally,  when,  if  the  wax  is 
at  right  temperature,  the  leaf  will  appear  as  if  newly  varnished ;  if  too-  hot,  it 
will  shrivel ;  if  too  cold,  w^ll  cool  in  lumps,  and  present  a  dull,  rough  appearance. 
When  the  wax  is  made  of  proper  temperature,  by  more  or  less  heat,  proceed  to 
dip  the  leaves  one  by  one,  or  spray  by  spray,  and  holding  each  until  slightly 
cool,;  then  placing  upon  newspapers  to  harden  perfectly.  These  will  present 
the  natural  appearance  of  the  leaf ;  but,  if  a  glossy  surface  is  desired  for  any  of 
them,  they  may  receive  a  thin  coat  of  Demar  varnish,  applied  with  a  camel's- 
hair  brush. 

A  friend  writes  us  as  follows  of  some  pretty  arrangements,  which  have  been 
made  successfully  by  her  :  , 

"  To  arrange  single  leaves  into  bouquets,  get  green  thread  wire,  and  cut  into 


HOUSEHOLD  ELEGANCIES. 


39 


pieces  as  long  as  you  wish,  for  stems ;  break  the  stem,  nearly  off  the  loaf,  then  pass 
the  end  of  the  wire  through  the  bottom  of  the  leaf ;  draw  it  through  about  an  inch, 
then  bend  it  down,  and  twist  around  the  remaining  stem  and  long  wire,  so  as  to 
hold  the  leaf  firmly.  After  the  leaves  arc  fixed,  arrange  them  in  bouquets  with 
a  few  pressed  ferns ;  these  will  be  pretty  for  your  small  vases.  For  large  bou- 
quets, use  large  sprays  of  leaves,  sumac  and  ferns,  mix  a  few  dried  or  crystallized 
grasses  and  grain,  black  alder,  black  brier  and  bittersweet  berries,  and  you  will 
have  as  handsome  bouquets  for  your  stands  and  mantels  as  you  could  wish. 
Small  clusters  of  autumn  leaves  and  ferns  prettily  arranged  on  the  picture- 
cords  look  nicely.  Blackberry  vines  twined  on  the  cords  and  left  to  hang  grace- 
fully around  the  picture-frame,  with  a  cluster  of  bright  berries  and  ferns  here 
and  there,  are  beautiful.  A  butterfly  on  a  cluster  of  ferns  is  pretty  on  picture- 
cords.  A  corner-bracket  draped  with  Spanish  moss  may  be  filled -with  autumn 
leaves,  and  tvv^o  or  three  butterflys  among  them.  Ferns  filled  in  around  a  bracket 
form  a  pretty  background  for  a  vase  of  berries  and  loaves.  You  can  make  pretty 
lambrequins  by  pinning  autumn  leaves  and  ferns  in  graceful  forms  on  your  lace 
curtains ;  and  you  can  ornament  your  white  shades  with  them  in  the  same 
manner. 

Another  pretty  ornament  is  made  of  sticks  about  a  foot  high  ;  take  three,  and 
cross  to  form  a  rustic  stand,  cover  them  with  gray  moss  and  a  few  berries  and 
leaves ;  set  a  bird's  nest  in  the  hollow  between  the  sticks,  then  get  a  pretty  stuffed 
bird  and  set  it  on  the  nest. 

To  make  anchors,  crosses,  stars,  and  wreaths,  cut  the  forms  out  of  pasteboard, 
and  then  sew  autumn  leaves  on  them,  arranging  the  different  colors  and  sizes 
prettily ;  these  are  very  pretty  to  use  in  a  great  many  ways.  Sometimes  we  cut 
the  centers  of  the  stars  out  and  use  for  a  picture -frame,  inserting  a  photograph 
or  a  small  picture.    They  are  odd  and  pretty. 

The  best  time  to  gather  ferns  for  winter  use  is  September  and  October,  as 
then  the  frost  turns  them  w^hite,  and  you  can  get  thom  from  deepest  green  to 
almost  white,  and  they  add  so  much  to  winter  decoration.  Also,  collect  all  kinds 
of  wild  grasses,  of  which  you  will  find  a  great  variety,  and  quantities  of  autumn 
berries.  A  person  of  taste  can  think  of  many  ways  to  arrange  these  bright 
treasures  of  Autumn. 

HOW  TO  AKEANGE  AUTUMK  LEAVES. 

Take  a  piece  of  Bristol-board  about  7x9  inches,  and  arrange  a  group  of  leaves 
and  ferns  upon  it ;  sew  them  on,  neatly  cover;ing  all  the  stitches  with  the  leaves, 
and  finish  at  the  bottom  with  a  spray  of  tiny  leaves ;  frame  in  a  passe-partout, 
and  you  will  find  it  as  handsome  as  a  painting.  Another  way  is  to  take  a  sheet 
of  Bristol-board  and  cover  with  black  velveteen  ;  get  a  small  brown  or  black  straw 
basket,  such  as  are  used  for  wax  fruit  and  flowers ;  cut  into  and  glue  one-half  on 
the  velveteen,  then  fill  with  the  brightest  leaves,  sumac  and  ferns,  grasses  and 


40 


HOUSEHOLD  ELEGANCIES. 


Fig.  10.   Wreath  of  Autumn  Leaves. 


HOUSEHOLD  ELEGANCIES. 


41 


berries ;  get  a  few  small  vines,  such  as  you  will  find  in  the  woods,  and  preserve 
them ;  then  twine  them  around  the  handle  of  the  basket,  and  arrange  others  to 
slope  gracefully  over  the  sides ;  frame  in  a  deep  frame,  and  it  will  win  admira- 
tion from  all  who  see  it.  Another  ornament  that  my  friends  admired,  last  Win- 
ter, was  a  cross  of  black  walnut,  with  carved  base  about  fourteen  inches  high, 
twined  with  a  wreath  of  autumn  leaves,  berries  and  green  moss,  which  you  can 
procure  at  the  florist's.  The  cross,  you  can  get  a  carpenter  to  make  for  you.  Then 
take  your  smallest  leaves — I  did  not  use  any  over  an  inch  long — take  a  piece  of 
green  thread  wire,  about  three-quarters  of  a  yard  long,  for  the  formation  of  the 
wreath ;  then  take  pieces  of  the  wire  about  one  and  a  half  inches  long,  for  stems 
to  the  leaves ;  prepare  them  as  already  described.  When  ready,  commence  by 
fastening  a  cluster  of  the  moss  on  one  end  of  the  long  wire,  with  a  small  piece ; 
then  arrange  the  leaves  on  the  long  wire  by  twisting  their  wire-stems  around 
the  long  wire,  taking  care  to  bring  the  leaf  near  enough  to  the  foundation  wire 
so  that  when  the  next  is  put  on  it  will  hide  the  stem  of  the  first.  Continue  in 
this  way,  arranging  the  colors  with  care,  and  interspersing  a  little  moss  here 
and  there  to  give  a  good  effect.  When  done,  fasten  to  the  cross  by  means  of 
small  black  pins,  twining  the  wreath  around  the  cross,  and  bending  the  leaves 
so  they  will  look  graceful.  At  the  base  of  the  cross,  arrange  moss,  berries  and 
leaves ;  also,  fasten  a  spray  of  baves  and  moss  near  the  ends  of  the  arms  of  the 
cross,  so  as  to  slope  prettily,  and  the  cross  is  finished." 

IMITATION  OF  JAPANESE  INLAID  WOEK. 

This  method  of  decorating  various  articles  of  wood  is  not  new,  in  itself,  but 
some  additional  improvements  which  have  been  made  to  it,  will,  perhaps,  be  at 
least  somewhat  novel  to  a  portion  of  our  readers  ;  and,  we  hope,  interesting  to  all. 

The  work  consists  in  fastening  upon  a  smooth  wooden  surface,  in  pleasing 
and  graceful  forms  (a  la  Japanese),  variously-shaped  and  colored  leaves,  which 
have  been  subjected  to  a  heavy  pressure,  until  perfectly  flat  and  smooth ;  and 
which,  after  the  surface  has  been  so  varnished  and  polished  as  to  present  a  face 
as  smooth  and  hard  as  glass,  will  appear  as  if  the  whole  were  one  unbroken  sur- 
face ;  which  is  the  high  perfection  of  art  in  the  Japanese  work. 


Fig.  11.  Botanist's  Press. 


42 


HOUSEHOLD  ELEGANCIES. 


All  persons  who  cany  the  collecting  and  pressing  of  leaves  to  any  extent, 
should  provide  themselves  with  the  simple  contrivance  called,*"  The  Botanical 
Press ;  "  and  with  such  a  convenience,  a  large  number  of  leaves  can  be  collected 
and  prepared  for  this  purpose,  in  a  very  short  time.  The  number,  colors,  and 
size,  should  be  as  varied  and  extensive  as  possible,  in  order  to  have  a  sufficient 
store  from  which  to  make  selections  ;  and,  in  case  of  extensive  borders,  a  number 
of  one  size  and  kind  must  be  prepared. 

By  the  application  of  these  pressed  leaves,  many  worn  and  defaced  articles, 
such  as  cabinets,  boxes,  cases,  frames,  and  sets  of  bed-room  furniture,  may  be 
renovated  and  made  to  appear  like  rich  inlaid  wood. 

In  forming  the  patterns  upon  the  wood,  regard  must  be  had  not  only  to  tlie 
form  and  size  of  the  leaves,  but  also  to  the  various  colors  and  shades  of  each 
particular  piece,  as  it  is  applied,  in  order  to  produce  that  harmony  or  contrast 
which  is  so  effective. 


Fig.  12.  Fancy  Box. 

After  pressing  the  leaves,  which  must  be  handled  carefully  on  account  of 
their  brittleness,  proceed  to  arrange  them  in  figures  or  borders,  on  a  sheet  of 
white  paper. 

Then,  having  the  woodon  surface  made  perfectly  smooth  and  stained  in  imita- 
tion of  ebony,  proceed  to  apply  each  separate  leaf,  raising  it  carefully  from  the 
paper,  and  painting  the  underside  with  very  thin  glue;  should  the  stems  remain 
and  appear  too  thick,  split  off  ,the  under  section  carefully  with  a  sharp  knife. 
Having  thus  arranged  the  entire  design  upon  one  flat  side,  lay  a  weight  upon  it 
until  dry ;  using  the  precaution  to  place  a  piece  of  oiled  paper  over  the  work,  to 
prevent  its  adhering  and  being  dragged  up,  when  the  weight  is  removed. 


HOUSEHOLD  ELEGANCIES. 


43 


After  the  whole 
is  done  and  dry, 
wipe  off  any  glue 
which  may  have 
oozed  from  beneath 
the  leaves,  and  fin- 
ish with  a  coat  of 
best  Copal  varnish. 
In  some  cases  a  lit- 
tle transparent 
color  will  improve 
certain  parts,  if 
"  touched  up  "  care- 
fully, and  lines  or 
bands  of  gold  and 
color  between  the 
designs,  as  shown 
in  the  screen,  Fig. 
13  ;  which,  as  an  ex- 
ample of  large  leaf 
work,  is  perhaps 
one  of  the  most  ele- 
gant articles  that 
could  be  desired ; 
and  such  a  folding- 
screen  is  one  of  the 
most  usefuPand  im- 
posing articles  of 
furniture  a  house 
can  contain;  if 
upon  castors,  easily 
moved  from  place 
to  place,  and  al- 
ways ready  to  be 
placed  in  front  of 
a  bed,  or  in  some 
other  position 
where  privacy  is  de- 
Fig.  13.  Screen  Decorated  with  Leaf-Work.'  sired,  or  a  glaze  of 
light  unpleasant.  Plain  pine  wood  sawed  in  four  panels,  six  feet  seven  inches  high 
by  two  feet  four  inches  wide,  united  with  hinges  and  placed  upon  castors,  it  is  not 
a  costly  "  affair  "  in  the  commencement ;  but  after  the  aforesaid  ornamentation 


44 


HOUSEHOLD  ELEGANCIES. 


is  finished,  upon  a  finely-stained  ground,  with  lines  of  gilding  and  color,  it  be- 
comes a  piece  of  rich  and  elegant  furniture.  So,  likewise,  the  wash-stand,  Fig.  14, 
which  idea  may  be  carried  out  upon  the  bureau,  head  and  foot  board  of  bed, 
chairs  and  little  stand,  thus  changing  a  plain,  shabby  set  of  bed-room  furniture 
into  something  more  thaii  merely  tasteful,  even  elegant.  We  assure  our  readers 
the  result  is  well  worth  all  the  trouble,  tune  and  patience,  expended  upon  it. 


Fig.  14.  Wash-stand. 

OENAMENTATION  WITH  INDIA  INK. 


The  application  of  this  mode  of  ornamentation  is  almost  universal,  being 
adapted  to  the  surface  of  a  center-table,  to  that  of  a  paper-cutter,  or  card-case. 

The  wood  for  this  purpose  should  be  of  close  grain,  and  hard,  even  surface, 
such  as  satin-wood,  white  maple,  white  poplar,  some  specimens  of  pine,  etc. ;  but 
with  care  any  light  surface  may  be  made  to  answer.  The  design  is  first  drawn 
in  outline  with  a  lead  pencil,  very  lightly ;  the  white  parts  filled  in  with  cake 
white,  the  black  with  repeated  coats  of  India  ink,  and  the  intermediate  shades 
with  sepia  and  shades  of  gray.  Certain  portions  are  left  in  the  natural  shades 
of  the  wood,  which  point  must  be  decided  by  the  taste  of  the  artist.  We  have 
recently  colored  an  oval  table  in  this  way,  forming  one  of  the  most  exquisite 
articles  of  furniture,  that  can  be  imagined.  A  monogram  or  some  other  figure 
or  device  may  be  placed  in  the  center. 


HOUSEHOLD  ELEGANCIES. 


45 


After  painting  in  the  colors  with  camel's-hair  brushes,  the  line  pencilings  and 
outlines  may  be  gone  over  with  a  mathematical  pen. 

The  most  difficult  part  of  the  work  is  in  the  finishing.  This  is  done,  only 
upon  the  painted  parts,  when  there  is  sufficient  skill  to  admit  of  it ;  but  for  the 
mere  amateur,  it  will,  perhaps,  be  best  to  paint  the  entire  surface  with  fine  De- 
mar  varnish,  using  the  utmost  care  to  lay  it  smoothly.  When  dry,  give  a  second 
coat ;  let  this  dry,  at  least  two  days,  in  a  place  secure  from  dust ;  then,  with 
great  care,  polish  the  surface,  dipping  a  soft  woolen,  or  chamois-skin  pad,  made 
quite  wet,  into  finely  pulverized  pimiice-stone,  using  only  gentle  friction.  AYhen 
the  entire  surface  is  thus  gone  over,  rinse  all  the  powder  off  thoroughly ;  dry,  and 
again  varnish  and  polish ;  proceed  thus,  until  a  surface  is  obtained  that  is  per- 
fectly mirror-like ;  then,  give  a  final  coat  of  varnish.  Use  great  care  in  rubbing, 
not  to  reach  the  paint  beneatli  the  varnish,  as  this  would  ruin  the  entire  work. 
This  mode  of  painting  will  be  found  exquisite  upon  white  card-board,  or  paper. 

DRYING  FLOWERS. 

The  following  directions  for  preserving  flowers,  we  have  seen  in  many  differ- 
ent periodicals,  both  European  and  American ;  but,  as  the  method  recommended 
by  a  correspondent  of  "  The  Ladies'  Floral  Cabinet"  (Rev.  Ed.  Huber),  embod- 
ies all  that  the  various  journals  have  published,  we  copy  his  method  precisely 
as  he  has  given  it  in  that  journal : 

"  In  some  parts  of  Germany,  the  business  of  drying  flowers  is  extensively  car- 
ried on,  and  they  have  become  quite  an  important  article  of  export.  Thousands 
of  tasteful  bouquets,  wreaths,  and  baskets  of  these  flowers,  are  annually  sent  to 
Paris,  where  they  are  in  constant  demand.  The  process  is  very  simple,  and  with 
a  little  experience,  almost  any  one  may  successfully  dry  flowers,  and  keep  them 
in  a  state  of  perfection  for  a  long  time. 

For  a  first  trial,  take  a  common  cigar-box,  or  any  box  of  convenient  size. 
You  may  also  bore  several  holes  in  the  bottom,  and  over  these  holes  paste  strong 
stiff  paper. 

The  next  thing  of  importance  is  the  preparation  of  the  sand.  Fine  river-sand, 
baked  thoroughly  dry,  is  the  best  adapted  to  this  purpose.  The  leaves  of  many 
flowers  are  so  glutinous,  that  sand  adheres  to  them  with  great  tenacity,  which 
will  spoil  the  dried  specimens.  To  prevent  this,  the  sand  is  prepared  in  the  fol- 
lowing manner : — To  twelve  and  one-half  pounds  of  well  dried  or  baked  sand, 
take  one  ounce  of  stearin.  Put  the  sand  in  a  large  flat  -psm  over  a  good  fire, 
heat  it  to  such  a  degree  that  a  small  piece  of  stearin  will  immediately  melt  on  it 
(the  stearin  should  be  scraped  into  fine  shavings)  ;  now  scatter  over  one  or  two 
teaspoonfuls  of  it  on  the  heated  sand,  being  careful  to  stir  the  whole  thoroughly 
and  constantly.  After  the  first  portion  has  been  well  absorbed  by  the  sand,  add 
another  spoonful,  and  so  on  until  the  whole  has  been  added.    This  requires  care 


46  HOUSEHOLD  ELEGANCIES. 

and  some  patience ;  do  not  get  tired  of  stirring,  and  do  not  take  the  pan  from 
the  fire  until  every  grain  has  received  its  proper  share  of  stearin. 

Now  pick  out  the  flowers  you  wish  to  dry ;  they  should  be  free  from  dew  or 
any  moisture ;  through  a  fine  sieve,  sift  a  layer  of  sand  a  quarter  of  an  inch  deep 
into  the  box ;  now,  lay  carefully  as  many  flowers  and  leaves  on  the  sand  as  you 
can ;  the  space  between  the  larger  flowers  may  be  filled  up  by  smaller  ones ;  on 


Fig.  15.    Bouquet  of  Dried  Flowers. 


HOUSEHOLD  ELEGANCIES. 


47 


this  layer  of  flowers,  carefully  sift  another  layer  of  sand ;  do  not  press  the  sand 
down  with  your  hands,  this  would  spoil  the  natural  shape  of  the  flowers;  but 
knock  gently,  with  your  fingers,  on  the  sides  and  bottom  of  the  box,  until  every 
little  space,  between  and  under  the  flowers,  is  well  filled  up ;  then  put  in  an- 
other layer  of  flowers,  and  proceed  as  before,  until  the  box  is  full.  Tie  down 
the  lid  with  good  strong  cord,  and  put  the  box  in  a  warm  place.  If,  in  your  own 
house,  there  is  not  a  place  constantly  warm,  place  imder  or  near  a  stove,  take  the 
box  to  your  baker's,  and  put  it  in  a  good  warm  position  on  his  oven.  In  two  to 
four  days,  the  flowers  will  be  perfectly  dry,  if  the  situation  is  really  warm.  When 
only  placed  in  the  sun,  it  requires  a  much  longer  time. 

When  you  wish  to  take  out  the  flowers,  cut  through  the  paper  at  the  bottom, 
and  let  the  sand  slowly  run  out.  The  flowers  at  first  are  so  brittle  that  you 
cannot  take  them  out  without  breaking  them ;  put  the  box  in  a  cool,  moist  place 
in  a  cellar  or  a  ditch,  for  several  hours ;  you  may  then  safely  remove  the  contents. 

Do  not  expect  to  find  every  flower  perfect ;  some  will  be  spoiled  in  shape  and 
color.  With  a  little  experience,  you  will  soon  learn  to  know  that,  and  leave 
them  out  in  future  trials.  But  others,  you  will  find  in  splendid  condition,  and 
these  will  amply  repay  you  for  all  your  trouble.  After  some  practice,  you  will 
learn  to  dry  your  favorites  on  a  larger  scale. 

These  flowers  are  very  beautiful  for  winter  bouquets,  and  will  look  well  for  a 
long  time,  if  protected  from  dust  and  the  rays  of  the  sun. 

With  flowers  furnished  with  long,  slender  stems  and  leaves,  you  may  always 
be  successful.  Scabiosa,  Pinks,  Primulas,  Forget-me-nots,  Honeysuckles,  Pan- 
sies,  Sweet  Peas,  etc.,  are  very  reliable,  but  experience  will  teach  you  best  which 
to  select.  Flowers  with  thick,  full  corolla,  also  Tulips,  Hyacinths,  etc.,  are  en- 
tirely useless  for  this  purpose." 

CEYSTALLIZING  GRASSES,  FEENS,  ETC. 

Although  colored  and  crystallized  grasses,  etc.,  are  strongly  objected  to  by 
many  persons,  still,  we  must  admit,  that  in  some  cases,  these  methods  of  chang- 
ing the  faded,  and  generally,  somber  hues  of  dried  natural  productions,  are 
capable  of  producing  beautiful  effects.  To  obtain  this  result,  however,  the 
work  must  be  neatly  and  carefully  prosecuted. 

We  have  all  seen  the  appearance  of  ground,  and  trees,  and  rocks,  on  some 
winter  morning  when,  during  the  hours  of  our  slumber,  the  soft  snow  had 
quietly  fallen,  and  been  quickly  followed  by  a  sudden  change  of  atmosphere  to 
intense  cold,  with  a  slight  sprinkling  of  sleet,  which  gave  the  whole  landscape 
before  us  that  lovely  appearance  of  being  thickly  dusted  with  "  diamond  pow- 
der," gemmed  with  sparkling  brilliants,  crusted  with  "liquidized  diamonds." 
Well,  this  may  be  almost  perfectly  imitated  by  crystallization  and  frosting,  and 
we  must  confess  we  consider  it,  in  many  cases,  a  decided  improi'ement"  This 
crystallizing  with  alum  may  be  done  in  such  a  manner  as  to  produce  several 


48 


HOUSEHOLD  ELEGANCIES. 


kinds  of  crystals.  If  alum  is  dissolved  in  cold  water,  it  will  take  about  fifteen 
parts  of  water  to  one  of  alum,  or  a  pint  of  water  to  an  ounce  of  pure  alum ; 
but,  by  dissolving  in  boiling  water,  the  pint  of  water  will  take  up  a  pound  of 
alum,  and  it  is  by  this  i)rocess  that  the  crystals  are  formed,  and,  herein  is 
where  many  persons  fail ;  that  is,  they  attempt  to  crystallize  by  dissolving  only 
the  amount  of  alum  that  cold  water  will  take  ";  whereas,  the  proper  method  is  to 
continue  adding  alum  until  a  saturated  solution  "  is  formed  (or  it  will  dissolve 
no  more),  whenever  large  and  heavy  masses  of  crystal  are  desired ;  but  if  deli- 
cate and  well-defined  small  crystals  are  formed,  make  a  boiling  solution  of  one 
pint  of  water  and  only  an  ounce  or  so  of  alum,  which  will  cover  the  objects 
placed  in  it,  while  hot,  with  perfect  crystals  when  it  becomes  cold.  Por  an 
ordinary  collection  of  grasses  and  ferns,  sufficient  for  two  bouquets,  or  a  basket, 
take  a  pound  of  alum  and  one  gallon  of  water ;  boil,  until  dissolved,  and  when 
cool,  having  tied  the  grass  in  small  bundles,  pour  the  solution  of  alum  into  a 
glazed  jar  or  basin,  and  placing  sticks  across  the  rim,  from  side  to  side,  sus- 
pend the  bunches  from  these  so  that  they  hang  down,  and  are  immersed  in  the 
water ;  then  place  the  jar  in  a  safe  place,  where  it  will  not  be  distm-bed  for  sev- 
eral hours,  or,  perhaps,  during  a  night. 

Do  not  expect  that  the  crystals  will  be  always  formed*  as  soon  as  the  solution 
becomes  cold,  for  it  may- be  twelve  or  fifteen  hours,  perhaps  even  longer,  be- 
fore the  deposit  commences  ;  this  depends  on  the  temperature  of  the  room  and 
other  causes.  Frequently  those  crystals  most  slowly  deposited  are  the  most  per- 
fect and  brilliant,  so  we  may  feel  that  "patient  waiting  is  no  loss."  If  you 
should  gi'ow  impatient,  however,  and  there  is  cause  for  haste,  add  more  alum, 
dissolving  a  quarter  of  a  pound  of  alum  in  a  very  little  boiling  water,  and  add- 
ing it  to  that  in  the  jar.  When  the  grasses,  etc.,  appear  sufficiently  coated, 
remove  and  hang  them  up  to  drain,  and  dry  off. 

Slender  grass  should  not  be  too  heavily  crystallized,  as  it  causes  them  to 
bend  too  much  to  appear  graceful ;  this,  however,  will  be  learned  by  experi- 
ence. 

It  is  sometimes  desirable  to  give  the  crystals  a  frosty  appearance ;  this  is  done 
by  placing  them  before  the  fire  where  they  will  dry  off  rapidly,  which  will  give 
them  that  white  look,  like  crushed  ice  or  frosted  snow. 

CEYSTALLIZED  FLO  WEES  AND  EOLIAGE. 

Tie  flowers  and  leaves  of  various  kinds,  such  as  Violets,  Pansies,  Geraniums, 
Ivy,  ISIyrtles,  Ferns,  etc.,  to  stems  of  wire ;  or,  if  desired,  fasten  upon  the  bottom 
of  shallow  baskets  or  other  receptacles,  and  dip  them  into  a  solution  of  alum 
that  has  become  perfectly  cold.  The  solution  should  be  what  is  termed  a 
"  saturated  solution  that  is,  the  water  should  dissolve  all  the  alum  it  will. 
When  the  alum  has  formed  a  clear,  light  covering  upon  the  surface  of  the 
flowers  and  leaves,  and  sufficient  adheres  to  envelop  everything  with  crystal 


50 


HOUSEHOLD  ELEGANCIES. 


drops,  remove  them  with  great  care,  and  allow  to  drip  for  several  hours,  until 
perfectly  dry,  when  the  flowers  will  present  the  most  charming  appearance,  and 
be  lovely  ornaments  for  any  apartment.  The  baskets  thus  ornamanted  are  very 
beautiful  ornaments,  and  will  long  retain  their  first  and  lovely  appearance. 

COLORING  GRASSES. 

In  making  rustic 
pictures  of  various 
kinds,  also  in  arrang- 
ing bunches  of  au- 
tumn leaves,  ferns 
and  other  "winter 
bouquets,"  it  is  some- 
times  desirable  to 
add  grasses  as  a 
means  of  producing 
that  softness,  which* 
Jine  foliage  alone  is 
capable  of  imparting 
to  any  arrangement 
of  flowers.  These 
grasses  may  be  dried 
in  such  a  manner 
that  a  portion,  at 
least,  of  their  natu- 
ral, vivid  green  and 
yellow  coloring,  may 
be  retained,  but  it 
is  impossible  to  pre- 
serve  it  perfectly ; 
and  as  this  lovely, 
natural  color,  is  one 
Fig.  17,  Bouquet  of  Dried  Grasses.  of  the  most  beauti- 

ful characteristics  of  a  collection  of  winter  leaves,  etc.,  it  becomes  a  matter  of 
importance  to  imitate  those  bright  tints  of  summer,  which  are  so  effective.  To 
do  this,  we  must  have  recourse  to  dyes  of  various  shades  and  colors.  Now,  any 
one  who  has  examined  the  beautiful  collections  of  "  winter  bouquets,"  as  they 
are  called,  which  have  added  such  brightness  to  our  homes  and  public  exhibi- 
tions during  the  past  few  years,  must  have  observed  the  predominance  of  the 
shades  of  yellow,  brown  and  russet,  which,  even  though  the  arrangement  may 
have  been  ever  so  tasteful,  could  not  be  perfectly  satisfactory  to  an  artistic  eye, 
which  always  seeks  for  imposing  contrasts  or  perfect  harmony. 


HOUSEHOLD  ELEGANCIES. 


51 


Another  striking  feature  in  some  of  these  flower  arrangements,  is  a  superabun- 
dance of  the  vivid  green,  and  orange-brown  dyed  mosses,  which  is  sent  us  from 
Germany ;  and  this  is  a  still  greater  mistake,  as  they  are  so  exceedingly  bright 
and  unnatural,  that  they  give  an  artificial  appearance  to  that  which  should  be 
simply  natural. 

The  finest  and  most  artistic  effects  are  produced  by  the  addition  of  rose-shades, 
contrasted  with  palest  blue ;  scarlet,  and  the  light  golden  tints  of  some  natural 
grasses ;  greens  of  various  shades,  but  never  the  glazing  dyed  colors  in  grasses, 
reserving  these  for  the  addition  of  a  few  bright  leaves. 

The  best  method  of  coloring  grasses  and  leaves  with  flowers,  also,  is  to 
merely  dip  them  into  the  various  spirituous  solutions  of  aniline ;  these  may  be 
procured  in  many  beautiful  shades  of  red,  blue,  orange,  purple,  rose,  etc.,  and 
the  depth  of  color  can  be  regulated  by  making  the  dye  more  or  less  strong  by 
the  addition  of  spirits  of  methyl.  After  removing  from  the  dye,  they  must  be 
lightly  shaken  out  and  exposed  to  the  air,  in  order  to  dry  off  the  spirit  and  re- 
move any  odor. 

Another  method  of  coloring  certain  parts  is  by  using  a  pink  saucer,  which 
may  be  obtained  from  a  druggist,  and  will  color  sufficient  flowers  for  several 
bouquets ;  and  this  will  produce  a  finer  tint  than  the  aniline ;  but  for  mauve, 
violet  and  pm'ple,  the  anilines  are  preferable. 


In  dyeing  some  grasses,  it  is  necessary  to  bleach  them,  especially  if  they  are  of 
a  deep,  and  yet  disagreeable  color.  To  do  this,  recourse  is  had  to  the  chloride  of 
lime,  or  properly  -speaking,  chlorinated  lime,  taking  two  teaspoonfuls ;  and 
after  letting,  and  mashing  out  all  lumps,  dissolving  in  a  quart  of  water, 
with  a  little  acetic  acid"  added,  suflacient  to  produce  a  decided  odor  of 
chlorine,  let  it  stand,  and  pour  off  the  clear  liquid,  or  strain  through  a  tammy 


Fig.  18.   Basket  of  Grasses  and  Dried  Flowers. 


62 


HOUSEHOLD  ELEGANCIES. 


with  fine  perforations ;  if  kept  for  any  time,  decant  into  opaque  bottles,  and 
cork  tightly.  In  this  liquid,  suspend  or  immerse  the  grasses  until  white,  or 
almost  so ;  for  some  grasses  will  not  bleach  to  perfect  whiteness,  while  others 
will  do  so  in  about  ten  or  fifteen  minutes.  After  bleaching  in  this  manner, 
remove  from  the  lime,  rinse  through  clear  water,  and  hang  in  the  sun  or  air,  until 
dry.  If  they  are  desired  for  bouquets,  they  should  be  placed  in  an  upright 
position  while  damp,  with  the  heads  drooping,  in  order  to  attain  a  graceful 
curve. 

In  dyeing,  the  colors  for  grasses  should  properly  be  shades  of  green,  brown, 
and  gold  color,  applied  in  the  same  manner  as  those  for 

DYEING  FLOWEES. 

When  the  everlasting  flowers  (or  "Immortelles"  of  the  French)  are  of  a 
homely  color,  it  is  desirable,  perhaps,  to  dye  them  some  pleasing  shade;  or, 
again,  as  they  are  generally  in  a  natural  state,  of  only  a  few  colors,  such  as 
yellow,  rose  and  white,  and  a  variety  is  desirable  in  a  collection,  it  is  custom- 
ary, in  Europe,  especially,  to  resort  to  coloring  as  a  means  of  imparting  bright- 
ness and  beauty  to  a  bouquet,  or  other  "  arrangement "  of  these  flowers. 

The  Ammobium,  White  Acroclinium,  Pearly  Everlasting,  Xeranthemum  of 
one  kind,  and  the  white  Gomphrena,  are  colorless  in  themselves,  and,  with  some 
little  preparation  of  cleansing,  may  be  dyed  without  bleaching,  or  fading. 
Those  which  require  the  color  changed  must  be  placed  in  a  solution  of  Castile 
(white)  soap  and  warm  water,  with  a  little  borax  added ;  to  an  ounce  and  a  half 
of  shaved  soap,  putting  one  quart  of  water  and  a  piece  of  borax  as  large  as  a 
filbert.  Place  the  flowers  in  this  while  it  is  boiling  hot,  keeping  them  upon 
the  stove  for  a  half  hour  or  so ;  then  rinse  in  cold,  clear  water,  repeating  the 
process  until  the  color  is  removed. 

White  flowers  and  grasses  may  be  dyed  with  the  aniline  dyes,  as  before  men- 
tioned ;  or,  for  some  shades.  Brazil-wood,  cudbear,  cochineal,  anetta,  and  other 
old-fashioned  dyes  may  be  used,  but  will  not  prove  so  clear  and  brilliant  as  the 
former.  Some,  too,  may  have  the  natural  colors  changed,  spotted,  striped,  etc., 
by  using  acids,  alum,  lye  and  other  agents,  and  for  some  touches  of  transparent 
colors,  produce  fine  effects.  In  using  the  aniline  dyes,  aU  that  is  required  is 
to  mix  the  liquid  or  powder  with  boiling  water,  and  soak  the  flowers  or  grasses 
in  this  until  sufficiently  dyed ;  or  proceed  according  to  the  directions  upon  the 
package,  substituting  the  flowers,  etc.,  instead  of  the  silk  or  other  fabric  for 
coloring,  which  directions  are  printed. 

Ferns,  for  winter  collections,  should  be  carefully  gathered,  and  immediately 
put  under  press,  or  placed  in  water ;  if,  however,  by  any  necessity  this  is  im- 
possible, and  they  become  wilted,  place  them  under  water  for  a  shoi-t  time,  when 
they  will  revive,  and  must  be  laid  upon  a  soft  towel  or  napkin  until  dried  off 
somewhat ;  then  placed  in  a  book,  and  pressed,  using  care  to  change,  each  day. 


HOUSEHOLD  ELEGANCIES. 


53 


SEA-MOSSES. 

Albums,  or  certain  portions  of  scrap-books,  devoted  to  the  preservation  of 
these  lovely  sea-flowers,  will  be  found  a  great  acquisition  to  a  "  table  collection  " 
of  interesting  "knick-knacks,"  and  afford  a  vast  amount  of  pleasure,  as  well. 
The  best  time  for  collecting  "  Sea-Mosses  and  Grasses  "  is  during  July  and 
August,  and  perhaps  the  early  part  of  September.  They  should  be  gathered 
carefully,  the  utmost  pains  being  taken  not  to  break  or  tangle  them.  A  tin 
box  or  pail  with  lid,  should  be  jfilled  with  sea-water,  and  into  this  the  specimens 
placed ;  as,  if  merely  thrown  into  a  basket,  in  a  dry  state,  they  will  wilt  and  die 
very  soon.  When  the  tide  is  out  farthest,  visit  the  shore  and  search  in  all  the 
little  pools,  among  the  rocks  and  in  the  nooks  and  crannies  along  the  beach, 
turning  over  the  collections  of  stones,  shells,  sand,  etc.,  that  have  been  thrown 
up  by  the  waves,  especially  after  a  storm.  When  you  return  from  your  quest, 
take  a  basin  of  clear,  fresh  water,  and  carefully  rinse  each  spray,  passing  the 
pieces  back  and  forth  gently,  through  the  water  ,•  then,  slipping  a  piece  of  card 
under  each  piece,  float  it  off  into  another  shallow  pan  or  dish  of  clear,  fresh 
water,  to  allow  it  to  assume  its  natural  form.  When  each  tiny  fiber  and  shred 
has  washed  up  separately,  take  a  piece  of  drawing-paper  or  fine  Bristol-board, 
cut  to  the  proper  proportion  and  shape,  and,  slipping  it  beneath  the  spray,  with 
a  sharp-pointed  instrument,  lay  every  strand  in  proper  position ;  cutting  out 
all  superabundant  branches,  and  placing  the  various  parts,  so  that  a  graceful, 
gossamer-like  spray  appears  lying  upon  the  white  card-board.  Then,  raising  the 
card,  hold  it  up  in  a  slanting  position  and  pour  off  the  water,  using  great  care 
not  to  disturb  or  misplace  the  various  thread-like  branches.  Let  these  cards 
dry  off  partially,  and,  while  a  little  damp,  lay  soft  folds  of  old  linen  or  tissue- 
paper  upon  them  and  place  under  a  moderate  pressure.  Examine  them  every 
day  for  one  week,  changing  the  papers  or  books  used  to  absorb  the  moisture  at 
least  once  each  day ;  and  when  the  specimens  are  large  and  rather  thick,  it  may 
be  necessary  to  repeat  this  twice  a  day  during  the  first  three  days. 

In  separating  and  examining  the  weeds,  there  will  be  found  some  which  are 
of  a  gummy  or  glutinous  character;  these  must  not  be  placed  with  the  others, 
but  dried  upon  cards  in  the  air ;  then  placed  for  a  moment,  so  that  the  paper 
beneath  them  rest  upon  a  plate  of  clear  water,  wiped  or  rather  patted  with  a  soft 
napkin  and  placed  under  a  book  or  other  light  weight,  until  dry. 

If  any  mosses  or  weeds  are  found  that  have  not  adhered  to  the  paper  while 
under  pressure,  remove  them,  and  paint  over  the  whole  surface  with  Demar  var- 
nish or  turpentine,  with  a  little  gum-mastic  rubbed  into  it, — about  one  ounce  of 
turpentine  to  two  drams  of  gum. 

The  fine,  fibrous  mosses  will  be  fit  to  remove  to  the  album  in  about  one  week, 
but  the  heavier  pieces  require  two,  and  sometimes  three  weeks  to  dry  —  very  much 
depending  upon  attention  to  the  changing  of  the  papers.  Some  of  the  large 
and  branching  pieces  may  be  dried  without  pressing,  and  arranged  in  vases. 


54 


HOUSEHOLD  ELEGANCIES. 


Various  other  arrangements  may  be  made  of  these  lovely  sea-flowers,  in  which 
taste  and  ingenuity  may  be  extensively  displayed.  Crosses,  lyres,  harps, 
anchors,  etc.,  can  be  formed  of  the  fine  parts,  and  with  the  addition  of  floss  silk, 
zephyr,  chenille,  and  a  little  "  frosting,"  exquisite  vines,  with  leaves  and  flowers, 
may  be  arranged,  while  with  sand  and  shells,  a  piece  of  mirror  and  fragment  of 
rocks,  a  lovely  little  piece  may  be  easily  formed,  and  will  prove  a  fine  addition 
to  an  album  or  a  charming  ornament  for  a  shell  or  coral  frame. 

The  lovely  little  Swiss  baskets,  sold  at  the  floral  and  fancy  stores,  also  form 
beautiful  ornaments  when  filled  with  these  exquisite  sea-weeds.  They  are  first 
cut  in  two,  longitudinally,  and  fastened  to  a  white  card-board  foundation,  by 
touching  the  cut  edges  of  sides  and  handle  with  strong  gum-arabic  mucilage, 
and  fixing  in  the  center  of  the  card.  When  dry  and  finely  fixed,  arrange  a 
background  with  the  fine  parts  of  the  moss,  fastened  against  the  white  card, 
forming  a  fine  tracery  of  brown  and  purple  ^'■grasses  mid  ferns,"  imitated  with 
the  weeds.  Then  fill  in  with  the  bright  parts,  formed  into  flowers  and  foliage, 
with  the  aid  of  scraps  of  "  floss  silk,"  zephyr  and  chenille,  using  tiny  pieces  as 
buds  or  berries,  forming  lovely  little  Moss-roses  of  the  beautiful  shades  of  rose, 
pink  and  green  moss,  pansies  of  the  purplish  and  yellow  colors,  white  flowers 
(by  bleaching  a  few  sprays  with  chloride  of  lime),  pinks,  geraniums,  roses  and 
various  other  flowers  of  the  crimson  shades ;  and  long,  feathery  strands  form 
fine  flowers  by  twisting  them  into  form  and  fastening  with  silk  or  fine  wire ;  a 
few  tiny  shells  may  be  added  here  and  there,  and  some  strands  of  the  tangled 
weed,  sand  and  minute  shells,  dusted  with  fine  "  diamond  powder,"  and  hung 
from  the  bottom  or  sides  of  the  basket.  A  monogram,  or  the  Christian  name 
or  initials,  placed  beneath,  formed  with  the  fine  leaves  of  the  mosses,  makes  a 
beautiful  finish,  and  such  a  collection,  framed  in  shells  or  coral,  forms  a  charm- 
ing addition  to  a  tasteful  room. 

In  arranging  Sea-Mosses  in  a  scrap-book,  the.  beautiful  enameled  and  painted 
shells,  which  are  now  imported  from  Europe,  and  sold  at  the  fancy  stores,  form 
an  appropriate  and  elegant  addition ;  and,  as  they  may  be  procured  for  a  com- 
paratively moderate  price,  we  would  recommend  them  as  exceedingly  satisfac- 
tory, thus  applied. 

WOOD-MOSSES. 

Wood-Mosses  and  Lichens  can  also  be  used  to  beautiful  advantage ;  and  a 
friend,  writing,  thus  describes  some  charming  and  inexpensive  ornaments  con- 
structed out  of  the  natural  moss  found  in  the  forest : 

"  Mosses  can  be  advantageously  gathered  in  the  woods  at  ahnost  any  season  of 
the  year.  I  found  beautiful  specimens  the  other  day  deep  under  the  snow,  but 
I  generally  succeed  best  in  preserving  the  beauty  of  those  collected  in  early 
summer  or  in  November.  You  scarcely  can*  have  too  great  a  variety  either  of 
lichens  or  mosses  in  this  kind  of  fancy  work.    Gather  such  as  are  to  be  found 


HOUSEHOLD  ELEGANCIES. 


55 


on  old  rail  fences,  decaying  logs  or  the  bodies  of  trees  in  moist,  shady  woods, 
and  in  patches  under  fallen  forest-leaves.  Let  them  dry  in  a  dark,  cool  place. 
The  body  of  your  frame  should  be  of  wood,  cut  either  square  or  oval,  or  it  may 


Fig.  19.   Moss  Frame. 


be  rectangular  at  its  outer  and  oval  at  its  inner  edge ;  or  better  still,  formed  as 
found  in  our  illustration.  (About  Christmas  times,  I  generally  have  half-a- 
dozen  at  once  cut  out  at  the  wood-turner's,  at  an  expense  of  about  fifteen 
cents  each.)  Next  make  a  paste  by  stirring  flour  in  cold  water  and  cooking  it 
very  slightly,  stirring  all  the  time ;  leave  it  as  thick  as  it  can  be  to  work  v/ell ; 
apply  it  to  the  frame ;  select  and  paste  on  the  moss  according  to  your  fancy, 
gradually  covering  the  entire  frame,  and  taking  care  not  to  press  the  moss  down 
any  more  than  is  necessary.  In  putting  on  the  moss  and  lichens,  let  them 
overlap  each  other  as  they  do  when  growing,  with  various  shades  of  green 


56 


HOUSEHOLD  ELEGANCIES. 


blending  together,  and  cool  grays  and  pearly  shell-forms  creeping  close  upon 
the  bright,  emerald  tips.  Use,  mainly,  the  low,  flat  varieties,  and  ornament  with 
little  groups  of  the  taller  sorts,  introducing  here  and  there  a  fern-like  spray  with 
its  livelier  green.  With  taste  and  delicate  handling,  an  exquisite  picture-frame 
may  thus  be  produced  at  little  trouble  and  almost  no  expense.  For  illuminated 
texts,  paintings  of  flowers  or  autumnal  leaves,  these  frames  are  peculiarly 
effective,  though  they  look  well  on  an  engraving,  or  almost  any  style  of  small 
picture." 

Thanking  our  correspondent  for  her  suggestions,  we  introduce  in  this  connec- 
tion a  lovely  style  of  moss  wall-bracket,  which  can  be  made  large  or  small,  and 
for  hanging  either  upon  the  side-wall  or  in  a  corner.  The  top  of  the  bracket  can 
readily  be  cut  from  any  soft  wood,  and  a  flat  stick  as  long  as  the  bracket  is 
designed  to  be,  securely  fastened  below  it  at  the  back  at  right  angle,  so  as  to 


Fig.  20.   Moss  Bracket. 

make  the  rear  view  of  the  frame-work  not  unlike  a  letter  T.  Next  obtain  a 
barrel-hoop  or  two,  cut  into  proper  lengths  and  fasten  on  as  many  of  these 
pieces  as  taste  may  dictate,  taking  care  to  let  each  piece  curve  inward.  These 
pieces  should  meet  at  the  bottom  of  the  brace,  and  their  other  ends  be  secured 


HOUSEHOLD  ELEGANCIES. 


57 


at  equal  distances  around  the  front  of  the  shelf.  When  all  are  made  firm,  your 
bracket  is  ready  to  cover  with  moss,  though  for  convenience  it  is  well  to  cover 
the  back  brace  before  the  front  ones  are  put  in  place.    The  general  directions 


Fig.  21.    Wreath  of  Mosses  and  Grasses  for  Picture-Frames, 
given  above,  for  covering  picture-frames,  will  apply  for  the  rest  of  the  work. 
These  moss-brackets  have  a  charming  effect  when  supporting  a  vase  of  graceful 


58 


HOUSEHOLD  ELEGANCIES. 


grasses,  or  a  growing  ivy-plant,  or  a  simple  bouquet.  In  Summer  they  look  well 
on  the  walls  of  vestibiiles  or  piazzas,  and  afford  convenient  places  for  depositing 
wild  flowers,  sprays  of  foliage,  or  any  treasure  collected  in  our  rambles. 

WEEATHS  OF  MOSSES  AND  GEASSES  FOE  PICTUEE- 

FEAMES. 

A  pretty  wreath  for  picture-frames  may  be  made  of  different  granscs,  mosses 
and  flowers,  dried  and  pressed  between  blotting-paper,  and  gimnned  on  a  piece 
of  pasteboard  corresponding  to  the  frame  of  the  picture  intended  to  be  wreathed. 
Beginning  at  the  middle  of  the  upper  part,  arrange,  first,  one  half,  and  then  the 
other,  in  such  a  manner  that  the  stems  of  the  grasses  shall  bo  covered.  Care 
must  be  taken  to  arrange  the  colors  harmoniously.  The  stems  which  come  to- 
gether in  the  middle  of  the  under  part  must  be  covered  with  a  large  flowei-. 
The  wreath  may  serve,  itself,  as  the  frame  for  a  picture — in  which  case  it  must 
be  glued  on  the  edge  of  the  picture,  which  must  be  mounted  and  furnished  with 
a  glass. 

MOUNTING  MOSS. 

The  following  is  a  good  method  for  preserving  the  leaves  of  mosses,  ferns, 
etc.  Wash  them  perfectly  clean,  draining  off  thoroughly  and  drying  partially, 
so  as  to  remain  flexible ;  tlien  arrange  upon  the  center  of  a  slide.  Over  this, 
place  a  pane  of  clean  glass,  and  fasten  the  two  together  by  clamping  or  "  clip." 
Then  taking  hold  of  the  slide  and  glass  thus  united,  with  a  pair  of  forceps  or 
plyers,  hold  them  in  the  left  hand,  and  with  the  right,  apply  a  little  "jelly  of 
glycerine,"  which  may  be  procured  from  an  optician's,  certainly,  and  perhaps 
from  other  places,  along  the  edges  of  the  two,  allowing  it  to  run  under  the  glass 
by  capillary  attraction.  When  suflicient  has  passed,  having  a  spirit-lamp  turned 
low,  hold  the  forceps  or  clip  {ice  use  a  '''■spring  clothes-pin")  firmly  in  the 
hand,  and  pass  it  backward  and  forward  OA'er  the  lamp  until  the  glycerine  boils, 
using  care  not  to  crack  the  glass  by  heating  too  rapidly.  Clean  the  slide  care- 
fully, and  varnish  with  gold-size.  Mosses,  mounted  in  this  way,  retain  the 
beauty  of  color  far  better  than  when  simply  dried. 

SHELLS. 

Fresh-water  shells,  such  as  muscles,  snails,  etc.,  may  be  bleached  to  a  snowy 
whiteness  by  placing  them  for  a  few  hours  in  a  solution  of  chloride  of  lime ;  first 
washing  them  perfectly  clean,  then  placing  them  in  a  jar  containing  the  lime. 
Place  the  vessel  in  the  sun,  and  when  sufficiently  bleached,  remove,  and  wash  in 
clear  water.  Then,  taking  a  soft  woolen  cloth  and  a  little  oil  and  finely-pow- 
dered pumice-stone,  proceed  to  polish  the  surface  by  continued  rubbing ;  after- 
ward finish  with  a  gentle  rubbing  with  chamois-skin,  which  will  produce  a 
snow-white  shell  with  a  highly  enameled  surface.  • 


HOUSEHOLD  ELEGANCIES. 


59 


LEAF  PHOTOGRAPHS. 

A  simple  and  effective  method  of  taking  leaf  photographs  is  as  follows  :  Pro- 
cure a  few  cents  worth  of  bi-chromate  of  potash,  with  which  make  a  saturated 
solution.  Pour  some  of  the  clear  liquid  into  a  shallow  dish,  and  on  it  float  a 
piece  of  letter-paper  till  it  is  thoroughly  and  evenly  moistened,  placing  it  in  the 
dark  to  dry,  when  it  should  appear  of  a  bright  yellow  color.  On  this,  place  the 
fern  leaf  or  leaves ;  under  it,  a  piece  of  soft  black  cloth  and  some  folds  of  news- 
paper. Place  this  between  two  panes  of  glass,  and  secure  with  chimps  (spring 
clothes-pins  will  answer).  Expose  to  a  bright,  glaring  sunshine,  with  the  rays 
falling  as  nearly  in  a  perpendicular  as  possible.  It  will  soon  begin  to  turn 
brown,  and,  in  a  few  hours,  a  perfect  and  dark  impression  will  be  obtained ; 
when  it  may  be  removed  from  the  frame  and  placed  in  clear  water,  which  must  be 
changed  every  few  minutes,  till  the  yellow  part  becomes  perfectly  white.  Some- 
times the  figures  will  be  perfect,  every  vein  and  mark  distinct;  and  these  photo- 
graphs are  most  interesting  and  beautiful  when  collected  into  a  book. 

PEESERVINO  WHITE  FLOWERS. 

Xo  doubt  many  of  our  readers  have  looked  with  admiration  and  wonder  upon 
the  chaplet  or  cross  of  pure  white  flowers,  preserved  as  mementos  of  "  friends 
departed,"  or  as  treasured  relics  of  the  day  when  some  fair  bride  stood  under 
the  snowy  "  marriage  bell "  and  carried  the  lovely  bouquet  of  orange  blossoms, 
camellias,  etc.,  which,  within  their  glass  cases,  appear  as  perfect  now  as  in  the 
hour  they  were  gathered. 

For  many  years  the  art  by  which  these  white  flowers  were  preserved  was  kept 
a  great  secret,  and  only  those  belonging  to  the  "  mystic  circle  "  of  the  initiated 
understood  the  operation ;  and  these  reaped  rich  harvests  from  those  wealthy 
persons  who  were  willing  to  pay  fabulous  prices  for  the  flowers  that  had  rested 
on  the  breast  of  some  loved,  but  departed  friend,  or  graced  the  wedding  of  an- 
other loved  one ;  but,  by  one  of  those  accidents  which,  always  in  time,  expose  to 
light  the  long-entombed  secrets  of  the  wise  ones,  this  interesting  process  has  at 
last  been  made  public ;  and  we  learn  that  the  following  process  will  enable  any 
one  to  preserve  the  white  and  green  flowers  used  upon  special  occasions,  or,  per- 
haps, desired  for  their  beauty  of  form  or  other  attribute. 

Let  the  flowers  be  freshly  plucked,  and  of  those  kinds  which  have  firm  texture, 
of  pure  white,  or  at  least  very  delicate  tints.  If  the  collection  is  to  be  preserved 
without  separating  the  parts,  the  green  leaves  must  be  removed,  as  they  require 
a  different  treatment.  This  done,  take  fine  parafline,  that  is,  of  the  very  best 
quality,  which  melt  in  a  clean,  new  tin  vessel  placed  in  a  pan  of  boiling  water, 
which  must  be  kept  constantly  hot  around  it,  so  as  to  keep  the  parafline  in  a 
liquid  state.  Into  this  thin  and  transparent  liquid  mass,  dip  the  blossoms  ;  or,  if 
found  more  convenient,  brush  each  one  quickly  with  a  soft  camel's-hair  of  small 
size,  so  as  to  give  them  a  smooth,  thin  coat  that  will  cover  every  part  of  each 


60 


HOUSEHOLD  ELEGANCIES. 


petal ;  and  this  will  form  a  casing  about  them  that  will  entirely  exclude  the  air, 
and  prevent  their  withering.  The  perfect  transparency  of  the  material  renders 
this  coating  entirely  invisible,  so  that  the  flowers  present  that  natural  appear- 
ance which  constitutes  the  peculiar  charm  of  this  work. 

Green  leaves  must  be  coated  with  green  wax,  or  with  paraffine  colored  with 
green  paint,  in  powder,  tied  in  a  thin,  Swiss-muslin  bag,  and  melted  in  it. 
Chrome  green  is  best,  lightened  to  proper  shade  by  the  addition  of  chrome  yel- 
low ;  or,  if  a  blue-green  leaf  is  desired,  permanent  blue  added  in  very  small 
quantity. 

We  have  experimented  in  this,  during  the  season,  by  coloring  the  paraffine 
with  other  colors,  such  as  pink,  lavender,  etc.,  and  have  been  quite  successful 
with  a  certain  class  of  flowers.  Those  fond  of  experimenting  will  find  this  a 
most  interesting  field  in  which  to  indulge  their  taste,  as  the  flowers  thus  pre- 
served are  as  perfectly  natural  as  if  freshly  gathered. 

Great  care  is  necessary  in  having  the  paraffine  perfectly  liquefied,  yet  not  so 
hot  that  it  will  "  cook  "  the  blossoms ;  for  in  this  case,  they  will  turn  brown  and 
"  sluff  off ;  "  that  is,  become  soft  and  apparently  decayed. 

PRESEKVING  NATURAL  FLOWERS  OF  THE  SOFT-PETALED 

VARIETIES. 

Having  described  the  method  of  preserving  flowers  by  drying  thsm  in  sand, 
we  will  now  give  still  another  process,  which  has  been  kept  a  matter  of  great 
secrecy,  and,  of  course,  excited  a  vast  amount  of  curiosity  in  Europe  for  some 
years ;  but  which  the  public  periodicals  in  France  and  England  have  been  mak- 
ing public  for  a  year  or  two  past.  The  first  flowers  we  saw  preserved  in  this 
way  was  a  wreath,  in  a  deep  recess  frame,  exhibited  in  the  window  of  an  art 
emporium  in  Chicago,  in  the  year  1871,  and  we  imagined,  at  the  first  glance,  that 
they  were  wax ;  but,  upon  examination,  found  they  were  natural  flowers, — the 
tints  rather  lighter  than  in  the  fresh  state ;  still,  quite  perfect  in  form,  and  ex- 
ceedingly delicate  and  lovely  in  appearance.  Upon  inquiry,  we  were  informed 
that  they  were  imported,  and  were  dried  by  the  fumes  of  sulphur,  though  in 
what  manner  was  not  known.  From  that  time  We  felt  greatly  interested  concern- 
ing the  process,  but  had  no  opportunity  of  discovering  anything  more  concern- 
ing the  matter  until  some  time  after,  when  a  scientific  gentleman  explained  the 
process  to  us ;  and  soon  after,  we  read  the  same  in  different  journals,  and  began 
to  make  an  attempt  to  preserve  a  few  simple  flowers,  as  an  experiment,  since 
which,  as  we  succeeded  well,  we  have  continued,  increasing  our  collection ; 
finding  the  process  not  only  simple,  but  exceedingly  interesting,  we  assure  our 
readers  they  can  also  do,  if  they  will  attempt  it. 

The  only  articles  necessary  for  this  operation  are  a  close  box,  a  pan  for  the 
sulphur,  and  some  stick  sulphur.    Any  tight  wooden  or  tin  box  will  answer,  with 


HOUSEHOLD  ELEGANCIES. 


61 


a  little  preparation,  made  as  follows : — Supposing  there  are  flowers  sufficient  to 
fill  a  half-peck  basket ;  a  wooden  box,  about  two  feet  square  is  taken  (we  find  one 
of  the  square  tea-boxes  convenient,  as  being  light  and  easily  handled,  and  also, 
because  closely  papered),  and  upon  the  inside,  two  strips  screwed  or  nailed  on 
opposite  sides,  upon  which  the  rods  holding  the  flowers  are  rested.  As  the  box 
is  air-tight,  the  ignited  sulphur  would  speedily  consume  the  small  portion  of  air 
contained  in  the  box,  and  be  immediately  smothered  ;  it  is  necessary,  therefore, 
to  have  a  hole  or  two  bored,  or  a  little  door  with  hinge  made  in  one  end  of  the 
box,  which  may  be  opened  or  closed  at  pleasure,  the  former  having  plugs  or 
corks  fitting  them  tightly. 

Our  course  is  this  : — Having  selected  a  number  of  Roses  and  buds,  Fuschias, 
Dahlias,  Larkspurs,  Orange  Flowers,  Camellias,  Pansies,  etc.,  we  tie  them  in 
loose  clusters  of  from  two  to  six  or  eight,  according  to  size,  and  hang  them  upon 


Fig.  22.   Wreath  of  Preserved  Thorns, 
rods,  which  fit  across  the  box  upon  the  ledges,  placing  about  four  rows  of  them. 
In  an  iron  pan  are  some  live  embers  of  charcoal,  which  is  set  upon  the  bottom  of 
the  box ;  an  ounce  or  two  of  crushed  sulphur  is  sprinkled  quickly  over,  and  the 
lid,  which,  in  our  case,  slides,  pushed  into  place.    The  little  panel  or  door, 


G2 


HOUSEHOLD  ELEGANCIES. 


which  is  on  the  lower  part  of  one  side  and  has  a  hinge,  is  held  open  for  a  few 
minutes  until,  glancing  in,  we  perceive  all  is  progressing  favorably  and  the 
fumes  are  rising  from  the  ignited  suliDhur,  when  we  close  and  hook  the  door, 
which  fits  tightly.  Throw  a  heavy  blanket  over  the  box,  tucking  it  round  closely, 
and  leave  it  until  the  following  day,  or  about  twenty-four  hours,  when  they  will, 
if  all  has  gone  well,  be  found  bleached  to  a  dull  white  color.  This,  upon  ex- 
posing them  to  the  air,  in  a  dry  atmosi)here,  they  gradually  lose,  and  assume 
their  own  colors,  though  not  of  such  intense  vivid  shades,  perhaps,  as  b'jforc 
bleaching,  but  permanent. 

It  is  of  the  utmost  importance,  in  this  operation,  that  the  box  be  made  per- 
fectly tight  and  close  by  pasting  muslin  or  paper  over  each  corner ;  and  if  the 
lid  closes  down  upon  the  top,  to  paste  a  strip  around  it  also,  as  it  can  be  easily 
cut  open  along  the  crack  when  the  box  is  to  be  opened.  Some  bleaching-boxes 
are  fitted  with  holes  about  an  inch  in  diameter  at  top  and  bottom,  fitted  with 
corks,  in  order  to  admit  the  air ;  though  we  prefer  the  little  door  as  being  more 
convenient ;  and  it  consists  in  simply  sawing  out  an  inch  square  from  the  side  of 
the  box,  fastening  in  on  the  upper  part  with  a  hinge  and  below  with  a  hook ;  it, 
of  course,  fits  closely  into  the  exact  place  from  which  it  was  sawed.  Once  the 
sulphur  is  ignited,  and  the  box  should  be  kept  as  close  as  possible ;  as  upon  this 
depends  the  success  of  the  operation,  in  a  great  measure. 

The  room  in  which  the  box  is  placed  should  be  as  dry  as  possible,  for  in  a 
damp  atmosphere,  the  bleaching  will  not  be  accomplished  so  satisfactorily. 

Flowers,  thus  preserved,  if  well  arranged,  and  sealed  hermetically  under  a 
glass  shade  or  behind  a  recess  frame,  will  retain  their  beauty  and  perfection  of 
form  and  color  for  an  indefinite  time. 

The  materials  necessary  for  this  picture  are  white  card-board,  to  fit  and  cover 
a  recess  frame  of  any  desired  size  (the  one  from  which  this  is  taken  is  one  by 
one  and  one-half  feet),  an  oval  or  arched  mat  to  surround  the  picture,  a  flat 
wooden  cross  of  size  to  suit  the  frame,  white  moss,  such  as  is  found  upon  old 
fences  and  trees,  green  moss,  dried  grasses,  everlasting  flowers,  the  scarlet  berries 
or  balls  called  Crabs  Eyes,  autumn  leaves  that  have  been  pressed  and  varnished, 
dried  ferns,  white  frosting,  mucilage  of  best  white  gimi-arabic,  white  glue,  arrow- 
root. The  white  stamens  used  for  wax  or  paper  flowers,  and  a  few  green  leaves, 
wax  or  paper,  or  dried  natural  ones,  a  few  crayons  of  green  shades,  are  serv- 
iceable, but  not  indispensable. 

The  implements  are  a  mucilage  brush,  a  small  sash-brush  for  glue,  sharp  knife 
and  scissors,  two  dredging  boxes  for  arrow-root  and  frosting,  such  as  are  used 
for  pepper,  etc.,  in  the  kitchen— the  latter  with  large  holes,  and  boxes  to  hold  the 
various  materials,  in  order  to  keep  them  from  getting  broken  and  mingled 
together,  which  causes  much  trouble  and  discomfort. 

Having  all  these  articles  ready  and  the  cross  made,  wet  it  well  with  rather  stiff 
glue,  and  place  it  upon  the  white  card-board,  back  of  the  recess,  the  middle  rather 


Fig.  23.   Easter  Cross. 


64 


HOUSEHOLD  ELEGANCIES. 


above  the  center  of  frame,  in  order  to  allow  for  the  ground-work,  as  seen  in  the 
design.  Cover  the  cross  with  white  moss  and  bark,  commencing  at  the  top  and 
covering  carefully,  one  piece  slightly  overlapping  the  other,  until  entirely  covered. 
Take  a  card  box,  about  half  as  deep  as  the  recess,  cut  away  the  one  side  and 
make  a  hole  in  the  bottom  that  will  admit  the  bottom  of  cross,  glue  it  to  the  re- 
cess and  cross,  and  when  dry,  cover  with  green  moss.  Place  grasses,  flowers,  leaves, 
etc.,  in  tasteful  groups  around  and  on  it,  and  train  a  piece  of  vine-like  fern  or  vine 
around  the  body  and  over  the  arms  of  the  cross,  with  drooping  sprays  falling 
carelessly  from  the  arms.  When  dry,  touch  lightly  with  mucilage,  dust  a  little 
powder  and  a  great  deal  of  frosting  upon  it  and  it  is  done.  After  the  frosting, 
etc.,  dries,  tap  the  back  of  frame  lightly  to  remove  loose  particles  of  frosting, 
etc.,  then  frame  carefully. 


CHAPTER  III. 


SPRAY  WORK,  OR  SPATTER-WORK. 


This  popular  style  of  ornamentation  has  become  widely  known.  Many 
of  our  readers,  undoubtedly  are  acquainted  with  it ;  yet  others,  with  but  an 
ordinary  knowledge  of  the  art,  are  still  unacquainted  with  a  few  recent  improve- 
ments that  enhance  the  beauty  of  the  work  to  a  great  degree. 

This  mode  of  decoration  may  be  applied 
to  any  material,  and  upon  any  color,  pro- 
vided the  surface  is  smooth  and  even ;  look- 
ing well  alike  upon  ebony  of  jet  black, 
hard  surface,  or  upon  a  thin,  transparent 
piece  of  Swiss  muslin ;  in  the  one  case,  the 
J  "  spray  "  being  made  of  light-colored  paint, 
or  dye ;  in  the  latter,  of  India  ink  or  other 
dark  tint.  The  ferns,  or  other  leaves,  used 
for  this  work,  must  be  pressed  or  flattened ; 
and  the  foliage  best  adapted  to  it  are  the 
kinds  with  deeply  serrated  leaves,  such  as 
Oak,  Maple,  Fern,  Geranium,  Vine,  Rose, 
Ivy,  etc. ;  also,  the  graceful,  waving  grasses, 
and  such  flowers  as  Lily  of  the  Valley,  Blue-bslls  and  Dicentra  ;  and  many  of 
the  sea-weeds  are  particularly  well  suited  to  it.  A  set  of  table  napkins,  with 
tray-cover,  etc.,  are  made  really  elegant  by  having  a  small  center-piece  thus 
adorned  with  a  monogram,  or  initial,  in  the  center,  and  a  few  sprays  of  foliage 
surrounding  it,  with  a  little  border  dividing  it  from  the  remaining  portion  of  the 
article.  In  Fig.  1  we  give  a  sample  of  such  a  set ;  to  form  which,  pour  into  a 
saucer  a  quantity  of  good  indelible  ink,  and,  having  cut  out  the  monogram,  or 
initials,  or  name,  from  paper,  spread  out  the  article  upon  a  table,  or  board,  and 
fasten  each  corner  of  the  paper  with  needles,  or  pins,  pressed  through  into  the 
wood,  using  care  that  each  part  rests  closely  down  upon  the  linen ;  then,  place 


Fig.  1. 


66 


HOUSEHOLD  ELEGANCIES. 


around  it  sprays  of  ferns, 
and  a  few  rose-leaves  (parts 
of  a  spray)  ;  then,  upon  the 
outer  edge,  some  grasses  and 
ferns,  all  secured  with  small 
needles,  or  pins,  placed  per- 
pendicularly ;  arrange,  also, 
a  narrow  border,  by  cutting 
paper  in  tiny  scallops,  with 
small  holes  cut  at  regular  dis- 
tances. The  next  step  is  to 
take  a  piece  of  "  wire-gauze," 
or  net,  or  a  comb  with  fine 
teeth,  and,  dipping  the  brush 
into  the  ink,  rub  it  gently 
across  the  piece  of  wire,  or 
teeth  of  the  comb,  producing 
a  fine  spray,  which,  falling 
upon  the  surface,  gives  a  clouded  appearance  to  the  material ;  after  thus  covering 
the  entire  surface,  evenly  and  uniformly,  remove  one  jmj't  of  the  rose-leaves  ;  also, 
a  few  of  the  finer  parts  upon  the  outer  edge,  and  carefully  cast  another  spray  over 
the  surface ;  after  allowing  the  previous  one  to  dry  off,  remove  another  section 
from  the  sprays  of  leaves,  and  again  "  spatter,"  and  then  remove  the  border ; 
spatter  lightly,  and,  when  dry,  lift  the  monogram,  which  will,  of  course,  appear 
perfectly  white. 

Fig.  2  shows  a  design  capable  of  adaptation  to  various  articles,  but  is  spec- 
ially pretty  upon  Swiss  muslin,  for  tidies,  etc.  We  recently  had  the  opportu- 
nity of  examining  a  set  of  these,  which  received  a  prize  at  a  State  fair,  as  the 
most  beautifully  adorned  fancy  article.  The  set  was  colored  with  India  ink, 
upon  very  sheer  muslin ;  the  edge,  in  waved  lines  of  ivy-leaves,  with  berries  of 
deep  brown ;  the  centers,  all  with  different  patterns,  of  clusters  of  leaves  and 
flowers,  butterflies,  etc.;  then  lined  with  thin  pink  Florence  silk,  and  finished 
with  two  rows,  of  narrow,  and  one  wide  Valenciennes  edging  (imitation)  formed 
round  the  scallops.  These  tidies  were  exquisitely  beautiful,  and  well  worthy  of 
imitation. 

In  Fig.  5  is  a  design  for  an  antimacassar,  which,  being  of  large  size  (from  one 
to  two  and  a  half  yards  long),  admits  of  the  use  of  large  leaves,  and  a  central 
group,  such  as  is  shown.  These  Cupids  were  traced  and  cut  out  of  paper,  and 
placed  in  a  similar  manner  to  the  monogram ;  then,  after  raising  it  as  the  final 
step,  the  shaded  parts  were  put  on  with  a  camel's-hair  brush,  dipped  in  the  liquid 
used  for  the  spray  or  spatter-work — sepia,  or  even  indelible  ink. 

A  lovely  picture  may  be  made  upon  white  card-board,  by  proceeding  as  follows  : 


HOUSEHOLD  ELEGANCIES. 


67 


Draw  a  cross,  with  a  graceful  vine  of  ivy  running  up  and  trailing  over  it.  Ar- 
range it  upon  the  paper  with  the  parts  shaded  in  observance  of  the  perspective 
effect.  Then  cut  out  all  the  parts ;  the  vine,  the  parts  of  the  cross,  with  the 
shaded  parts  upon  the  body — top  and  arms  cut  separately.  The  cross  may  be 
straight,  and  the  arms  placed  in  a  horizontal  position,  or  the  top  of  the  body  cut  lon- 
gitudinally, and  the  arms  placed  with  the  angle  slightly  acut^,  as  shown  in  Fig.  3. 

The  vine,  and  those  grasses,  etc.,  at  the 
foot  of  the  cross,  which  are  to  appear  in  the 
foreground,  should  be  placed  on  the  card 
first;  then  the  light  parts  of  the  cross  cut 
out,  following  the  direction  of  the  dotted 
lines ;  the  three  shaded  parts  are  cut  in  sepa- 
rate pieces,  and  are  to  be  the  darkest  part  of 
the  work,  receiving  more  of  the  "  spray  "  than 
any  other  portion,  excepting  the  ground- 
work. Shade  the  whole  surface  of  the  card, 
using  the  utmost  care  to  have  it  as  fine  and 
granular  as  the  most  highly  executed  photo- 
graph ;  never  hurrying  over  the  work,  nor 
taking  up  too  much  liquid  on  the  brush,  for 
fear  of  blotting,  and  making  the  dots  and 
specks  of  uniform  size. 

The  ground-work  is  an  even,  light  hair- 
color.  !Next,  proceed  to  remove  the  foliage 
from  the  back,  behind  the  cross,  spatting 
the  entire  surface  uniformly,  again,  which 
will  make  the  foliage  the  shade  of  the  ground.  Fig.  3. 

previous  to  this  application ;  and  the  ground  one  shade  darker ;  then  remove 
the  strips,  and  again  shade ;  then  the  intermediate  foliage,  and  again  shade ; 

then  the  remaining  portions  of  the  cross  and  the 
ferns,  grasses,  and  leaves  in  the  foreground,  and  again 
shade ;  when  the  vine,  being  removed,  will  appear  upon 
the  merely  tinted  side  of  the  cross,  in  pure  white ;  vein 
the  leaves  with  a  fine  pencil  or  pen. 

Allow  the  ink  always  to  dry,  after  each  shading,  for 
fear  of  soiling  the  other  parts.  The  effect  produced 
by  this  mode  of  shading  is  really  wonderful  to  those 
who  have  never  seen  nor  attempted  this  mode.  Neat- 
ness, care,  and  a  willingness  to  "  patiently  wait,"  are 
essential  to  perfect  success  in  this  work,  and  it  affords 
a  wide  field  for  the  display  of  ingenuity  and  artistic  skill  in  arranging  and 
shading,  so  as  to  produce  the  finest  results. 


Fig.  4.   Initial  G. 


68 


HOUSEHOLD  ELEGANCIES. 


Fig.  5. 

Upon  a  bright  gi-een  ground,  this  work  affords  a 
beautiful  means  of  ornamenting  lamp-shades,  the 
foliage  appearing  in  its  own  natural  color ;  and,  where 
it  is  desired  to  have  the  figures  dark,  if  the  sprays  are 
made  by  "spattering"  with  light  colors,  the  effect 
will  be  found  exceedingly  fine.  We  have  seen  a  wal- 
nut table  shaded  with  buff  paint,  and,  after  drying, 
varnished  with  Copal,  which  was  wonderfully  fine. 
The  leaves  must  be  veined  with  the  color  used  for 
the  shading,  in  all  cases,  and  sometimes  fine  touches 
of  light  tracing  are  also  required.  Fig.  6.  Initial  F. 


HOUSEHOLD  ELEGANCIES.  69 

As  the  "  spatterinfj  "  frequently  soils  the  sleeves  and  body  of  the  dress,  it  is 
well  to  protect  the  clothes  by  wearing  an  apron  with  waist  and  sleeves,  which, 
as  we  have  previously  observed,  is  a  wise  precaution  in  many  branches  of  fancy 
work. 


Fig.  7.  Section  of  Spatter-Work  Lamp-Shade. 
The  effect  of  spatter-work  varies  with  the  texture  of  the  material  on  which  the 
spattering  is  done,  and  with  the  depth  of  the  shading.  If  it  is  done  on  card- 
board, it  is  very  pretty  for  lamp-shades,  or,  when  the  card-board  is  exactly  the 
right  size,  it  looks  well  inserted  in  the  panels  of  white  doors  in  country  houses. 
Done  on  light  shades  of  velvet,  silk,  or  cloth,  it  is  very  pretty  for  sofa-pillows, 
chair-bottoms,  pin-cushions,  or  even  neck-ties.    These  fern-forms  look  well  on 


HOUSEHOLD  ELEGANCIES. 


71 


any  of  the  pretty  white-wood  articles  now  so  common  in  our  fancy-stores — glove- 
boxes,  fans,  table-mats,  paper-knives,  fire-screens  and  card-baskets.  After  the 
spattering,  these  wooden  articles  may  be  rendered  more  serviceable  by  a  thin  coat- 
ing of  gum-shellac  dissolved  in  alcohol.  On  damask,  the  fern-forpis  are  beauti- 
ful for  table-mats,  or  on  squares  of  Swiss  muslin,  bordered  with  fringe,  for  tidies. 
^  On  white  muslin  pin-cushions  and  toilet  sets,  especially  if  they  are  lined  with 
colored  silk,  the  effect  is  charming.  In  fact,  there  seems  to  be  no  end  of  the 
uses  that  may  be  made  of  spatter-work.  Some  prefer  to  use  violet,  green,  purple, 
or  red  ink,  instead  of  black.  For  things  that  need  to  be  washed,  indelible  ink 
may  be  used,  but  it  is  hard  to  work  with,  though,  of  course,  more  satisfactory 
in  the  end.  In  making  a  card-board  lamp-shade,  you  may  first  cut  the  pattern  in 
paper  from  any  shade  you  prefer.  Some  are  cut  in  a  single  crescent-like  form, 
and  others  are  made  of  six  pieces  of  the  shape  given  in  the  illustration.  The 
pieces  may  be  scalloped  at  the  top  and  bottom,  and  small  holes  punched  at  the 
side  edges,  through  which  to  pass  ribbons  for  lacing  them  together.  Sometimes 
it  may  be  easier  to  bind  the  edges  of  the  card-board  and  overhand  them  together, 
though  lacing  is  prettier.  It  adds  very  much  to  the  effect  to  cut  two  rows  of 
little  V-shaped  slits  around  the  upper  and  lower  edges  of  the  shade,  letting  one 
V  come  in  the  scallop,  the  other  about  half  an  inch  below,  and  on  a  line  with  the 
lower  point  of  the  scallop.  When  these  are  cut,  press  the  point  of  the  V  in,  so 
that  the  light  may  shine  through. 

Often,  on  wedding-cards,  envelopes,  or  in  magazines,  we  can  find  very  pretty 
initial  letters  or  monograms ;  these  may  be  cut  out  and  employed  in  the  same 
way  as  the  ferns.  If  you  have  to  design  the  initial-letter,  make  the  edges  re- 
semble those  of  ferns  as  much  as  possible.  These,  or  the  monogram,  will  often 
add  very  much  to  the  effect  of  the  glove-box,  tidy,  cushion,  lamp-shade,  or,  in- 
deed, any  of  the  fancy  articles  of  which  I  have  spoken.  Should  you  want  merely 
a  letter  without  shading  around  it,  cut  out  the  form  carefully,  and  spatter  in  the 
stencil  that  is  left.  This,  you  see,  works  like  a  regular  stencil-plate,  and,  with 
indelible  ink,  is  a  very  pretty  and  easy  way  of  marking  linen.  After  you  have 
used  this  stencil  for  spattering,  it  will  be  useful  to  keep  for  marking  letters  for 
embroidery. 

THE  PEESSING  OF  THE  LEAVES. 

Almost  any  sort  of  foliage  may  be  selected,  excepting  large,  thick  leaves. 
For  pressing,  place  the  fresh  leaves  and  twigs  between  sheets  of  gray  blotting- 
paper,  or  between  the  leaves  of  a  book,  curling  the  stems  into  graceful  tendrils 
as  much  as  possible.  The  leaves  and  branches  must  be  removed  and  put  in 
other  dry  places,  three  or  four  times,  leaving  an  interval  of  twenty-four  hours 
between  each  time.  This  is  done,  in  order  that  they  may  become  quite  dry ;  for 
only  then  are  they  fit  for  use. 


\ 


72 


HOUSEHOLD  ELEGANCIES. 


SPATTEK-WORK  DESIGNS.— HOW  TO  PREPARE  THEM. 

The  materials  used 
are  dried  and  pressed 
foliage,  fine  India  ink, 
white  stuff  (pique,  silk 
or  velvet) ;  use  the  same 
brush  and  comb  of 
spatter-work.  This 
beautiful  piece  of  work 
may  be  executed  with 
a  very  slight  knowledge 
of  drawing,  sufficient 
only  to  apj)ly  shading, 
here  and  there,  or  mark 
a  few  outlines.  Our 
engraving  represents 
the  full  effect  of  the 
Fig.  9.  A  Roll-Mat.  work,  as  no  colors  are 

applied  to  it,  and  it  is  produced  by  a  graduation  of  tints,  from  black  to  lightest 
gray. 

LAYING  ON  THE  COLOR. 

For  this,  a  brush  (a  nail  brush  with  a  handle  is  the  best ;  the  brush,  however, 
must  not  be  arched)  is  requisite,  and,  also,  a  fine  tooth  comb.  Rub  in  a  saucer 
the  India  ink  with  water,  until  it  has  the  thickness  of  thick  ink ;  this  opera- 
tion takes  several  hours.  Then  dip  the  brush  into  the  ink,  quite  flatly,  so  that 
only  the  tips  of  the  bristles  get  wet,  and  beat  it  out  well  so  that  no  moisture 
remains  in  it ;  holding  the  brush,  bristles  downward,  over  the  work,  in  the  left 
hand,  pass  over  it  with  the  comb  in  your  right  hand,  so  carefully,  that  the  fine, 
black  rain  descends  almost  without  noticeable  effect,  on  the  work.  Always  begin 
at  the  center  of  the  work,  where  the  color  is  to  be  applied  darkest,  and  proceed 
carefully  towards  the  edges,  which  must  have  a  lighter  tint.  The  comb  may  be 
passed  somewhat  more  forcibly  over  the  brush,  when  the  ink  in  the  latter  is 
ahnost  exhausted.    Of  course,  the  brush  must  be  repeatedly  dipped  into  the 

ink,  performing  the  beating-out  process  every 
time.  The  finer  the  black  points  descend  on 
the  stuff,  the  more  beautiful  will  the  eifect  of 
the  work  be.  As  already  mentioned,  the 
black  rain  must  be  allowed  to  descend  almost 
imperceptibly  on  the  foundation.  If,  never- 
theless, too  large  a  black  spot  descends  any- 
where, cover  it,  by  means  of  a  very  fine  brushy 


Fig.  10.  Inkstand. 


HOUSEHOLD  ELEGANCIES. 


73 


with  white  paint.  When  the  grounding  is  completed,  remove  the  leaves,  place 
them  in  books,  as  heretofore,  and  then,  with  a  fine  brush  and  India  ink,  mark 
veins,  tendrils,  etc.,  on  the  work.  Fig.  8  serves  as  a  model  for  the  outlining  of 
veins,  etc.,  but  the  worker's  invention  can  not  fail  to  apply  what  is  requisite 

for  the  completion  of  this  beautiful  piece  of 
work.  As  foundation,  gray  (ecru)  satinet 
is  much  to  be  recommended. 

Fig.  9  is  a  pretty  roll-mat,  which  is  spread 
out,  and  can  be  rolled  up ;  it  will  be  found  a 
beautiful  receptacle  to  hold  leaves  that  have 
been  gathered  on  some  excursion,  and  dried 
for  remembrance.  The  monogram  is  cut  out 
of  paper,  and  tacked  on  the  wood  in  the 
same  way  as  done  with  the  leaves.  Our 
model  measures  nine  inches  in  width,  and 
ten  inches  in  length. 

Fig.  15  is  a  screen,  made  with  a  bracket 
saw,  and  ornamented  with  pressed  foliage, 
and  spatter-work.  This  pretty  screen  is 
composed  of  five  slats,  each  eight  and  two- 
fifths  inches  long,  and  three  and  thre-fifths 
inches  wide,  w'hich  are  connected  with  bows 
of  ribbon,  passed  through  holes  bored  for 
this  purpose.  The  slats  are  cut  into  a  pat- 
tern, at  the  top  and  bottom,  by  means  of  a 
bracket-saw,  and  decorated  in  the  center 
with  spatter-work.  For  the  latter,  besides 
the  usual  dried  and  pressed  leaves,  butter- 
flies may  also  be  taken.  When  these  are 
raised  from  the  wood,  mark  the  outlines  and 
veins  with  India  ink,  and  cover  the  whole 
with  a  layer  of  Copal  varnish.  The  carved 
parts  must  remain  white. 

Fig.  16.  The  model  consists  of  an  eight- 
sided,  wooden  plate,  surrotinded  by  a  black 
margin,  one-fifth  of  an  inch  wide,  edged 
with  gold.  The  decoration  of  leaves  is  ar- 
ranged in  two  layers.  The  upper  layer  is 
sprinkled  in  the  usual  manner  by  means  of  a  comb  being  passed  over  a  brush, 
with  India  ink  first,  then  with  gold  ink.  The  lower  layer,  the  one  first  tacked 
to  the  plate,  is  sprinkled  with  gold  ink,  and,  when  the  foundation  shows  a 
somew^hat  dark  tint,  it  is  removed ;  leaves  and  branches  are  outlined  with  a  pen, 


74 


HOUSEHOLD  ELEGANCIES. 


dipped  in  gold  ink.  The  mat  is  polished  by  means  of  a  careful  application  of 
Copal  varnish. 

Fig.  11  is  made 
of  white  cotton-sat- 
in, bound  with 
gray  silk  ribbon. 
It  is  twenty -one 
and  three-  fifths 
inches  long,  ten 
inches  wide  in  the 
middle,  two  and 
two-fifths  inches 
wid'3  at  the  sides, 
and  cut  into  scal- 
lops around  the 
bottom.  The  dec- 
oration consists  of 
Fig.  12.  Tablet.  various   kinds  o  f 

leaves,  and  ivy  branches  tastefully  arranged.  The  work  is  executed  with  brush) 
comb  and  India  ink  in  the  usual  manner.  When  completed,  the  lambrequin  is 
lined  with  gray  cambric,  after  which  the  binding  is  put  on  all  around. 

Fig.  12.  The  pretty  tablet  or.r 
engraving  represents  is  of  wood, 
oval  in  shape,  provided  with  metal 
handles,  and  having  a  margin  four- 
fifths  of  an  inch  high.  It  is  deco- 
rated in  the  center  by  a  pretty  bou- 
(|uet,  produced  by  an  arrangement 
of  a  double  layer  of  leaves.  The 
process  has  already  been  described. 
It  is  a  most  beautiful  way  of  put- 
ting dried  leaves  to  use. 

Fig.  13.  The  outer  edges  of  the 
key-rack  are  each  six  and  two- 
fifths  inches  long.  We  remind  our 
readers  that  the  leaves  which  are  to 
have  the  lightest  tint,  must  be  tack- 
ed on  first.  The  outlines  of  the 
Key-Rack.  leaves,  veins,  and  stems  are  to  be 

marked  with  India  ink,  and  a  slight  shading  will  improve  the  look  of  the  drawing. 

Fig.  18  represents  a  very  pretty  box  to  contain  ribbons,  laces,  jewels,  and  the 
like.    Our  model  is  two  and  four-fifths  inches  high,  eleven  and  three-fifths  inches 


HOUSEHOLD  ELEGANCIES. 


75 


Fig.  14.  Paper-Cutter. 

long,  nine  and  three-fifths  inciies  wide,  and  the  cover  which  is  connected  with 
the  box  by  means  of  hinges,  has  a  rim,  lapping  four-fifths  of  an  inch  over  the 
box.  The  box  is  made  of  card-board,  lined  with  wliite  glazed  paper,  and  covered 
on  the  outside  with  wood-colored  paper.  As  the  corners  are  connected  by  means 
of  bows,  holes  being  bored  in  them  for  the  purpose  of  passing  the  ribbon 
through,  this  box  is  quite  easy  to  make.  A  similar  bow,  drawn  through  the 
front  rim  of  the  cover,  decorates  it  in  front.  The  sprinkling-work  is  executed 
in  the  usual  manner. 

THE  AEEANGEMENT  OF  THE  FOLIAGE  OX  THE 
FOUNDATION. 

For  the  latter,  satinet  is  in  most  cases  taken,  stretched  in  a  frame,  and  the 
foliage  gracefully  arranged  thereon.    The  arrangement  is  left  entirely  to  the 


Fig.  15.  Table-Screen  for  Lamp, 
worker's  taste,  though  our  engraving  may  serve  as  a  model.  The  foliage  must 
not  crowd  each  other,  nor  too  much  of  it  be  used,  so  that  the  various  parts  stand 
distinctly  forth  with  spaces  between  them.  Now  and  then  it  is  necessary  to 
cut  away  a  few  twigs  or  leaves  from  a  branch.  When  a  satisfactory  arrange- 
ment has  been  attained,  the  leaves  are  fastened  with  fine  sewing-needles  to  the 
foundation,  then  tacked  on  with  very  fine  thread.  While  doing  this,  care  must 
be  taken  not  to  sew  throwjh  the  leaves,  but  close  to  their  edges,  through  the  stuff ; 


76 


HOUSEHOLD  ELEGANCIES. 


the  former,  in  order  to  preserve  the  leaves  for  further  use,  the  lalter,  because 
tlie  thread,  lying  on  the  stuff,  would,  after  the  application  of  the  spatter- 
work,  present  the  appear- 
ance of  a  white  line.  AVhere 
the  latter,  however,  can 
not  be  avoided,  as  for  in- 
stance, in  the  tacking-  on  of 
fine  foliage  where  the  tlnep.d 
passes  over  several  stems 
at  once,  the  white  line  is 
obliterated  with  a  fine 
brush  and  India  ink,  after 
the  completion  of  the  work. 

Fig,  16.  Mat. 

PORTFOLIOS  FOR  PEESSED  FLOWEES,  GEASSES,  ETC. 

Figs.  19,  20,  21  and 
22,  represent  the  covers 
and  interior  of  some 
pretty  portfolios  for 
holding  flowers,  grasses, 
ferns,  or  papers.  They 
are  constructed  of  fine 
Fig.  17.  Glove-Box.  white  card-board,  and 

the  outside  cover  is  ornamented  with  spatter-work. 

Arrange  the  leaves,  in  as  pretty  a  group  as  your  taste  will  find  possible,  on 
the  outside  of  the  two  covers ;  tack  them  on  with  very  fine  needles,  and  then 
proceed  with  the  sprinkling. 


Fig.  18.  Toilet-Box. 

When  the  foundation  is  dark  enough,  carefully  remove  the  leaves,  and  mark 


HOUSEHOLD  ELEGANCIES. 


77 


the  outlines  and  veins  with  India  ink.  Careful  smoothing  over  with  a  paper- 
cutter  on  the  wrons"  side  of  the  card-board,  will  obliterate  the  mark  left  by  tlie 


Fig.  19.   Portfolio-Cover.  Fig.  20.  Portfolio-Cover, 

needle.  The  two  covers  are  now  lined  with  moire  paper,  and  cut  smoothly  off, 
all  around.  Insert  leaves  of  blotting-paper.  The  flowers  are  preserved  as  in  a 
herbarium,  sewed  to  the  leaves,  and  marked  with  dots,  and  placed  where  picked. 
The  Portfolios  can  also  be  made  more  useful  and  ornamental  as  covers  for  writ- 
ing paper,  correspondence,  and  a  scrap-book  or  album  for  pretty  pictures.  Fig. 

22  represents  the  interior 
of  one,  with  sketch  of  the 
leaves,  their  fastening, 
etc. 


Fig.  21.  Portfolio-Cover. 


NEGLIGE  POCKET. 

The  back  part  of  the 
pocket  is  covered  on  the 
outside  with  gray  linen, 
and  lined  at  the  back  with 
white  linen.  Two  pockets 
also  are  set  on  the  back 
part.  These  are  not  lined, 
and  are  decorated  with 
some   pretty   design  in 


78 


HOUSEHOLD  ELEGANCIES. 


sprinkling-work,  for  which  dried  leaves,  etc.,  are  used  in  the  manner  already- 
familiar  to  the  reader.    The  lin- 
ing and  covering,  on  the  back 
part,  are  connected  all  around 
by  means  of  button-hole  stitches. 
The  little  watch-pocket  is  edged 
with  black  and  white  braid  all 
around  the  larger  pocket  be- 
neath it,  only  at  the  top.  The 
whole  is  trimmed  all  over  with 
twisted  white  fringe  one  inch 
deep,  with  a  white  and  black 
heading.    A  fancy  hook  is  at- 
tached to  the  top  of  the  pocket ; 
Fig.  22.  Portfolio.  ,  on  this  the  watch  is  hung,  while 

the  chain  drops  into  the  little  pocket.  A  loop  at  the  bag  serv3s  to  hang  up  the 
pocket,  which  is  very  handy  beside  a  bed. 


Pig.  23.  Neglige  Pocket. 


CHAPTER  IV. 


BRACKETS,  SHELVES,  MANTELS,  ETC. 


With  the  saw  and  other  tools  described  in  chapter  on  "  Picture-Frames,  Etc.," 
many  elegant  and  tasteful  articles  may  be  made  wherewith  to  adorn  the  house 

and  surroundings  of  those  who 
love  beautiful  things;  and 
when  added  to  fret-work,  carv- 
ing, etc.,  and  the  various 
lovely  objects  of  natural  form- 
ation, such  as  are  used  for 
rustic  work,  and  the  exquisite 
artificial  wood-carvings  just 
described,  it  would  appear  al- 
most a  matter  for  censure  for 
any  one  who  desires  to  make 
home  and  its  surroundings  beau- 
tiful, not  to  furnish  themselves 
with  these  "  home-made "  ele- 
gancies, which  are  within  the 
reach  of  all,  poor,  as  well  as 
rich.  "W'e  begin  our  (iescrip- 
tions  of  these  articles  "u  ith  that 
most  popular  addition  to  every 
house,  in  this  day,  brackets ;  and 
will  first  explain  the  method  of 
rig.  1.  I  making  a 

CARVED  WALKUT  BRACKET  WITH  ARTIFICIAL 

ORNAMENTS. 

Cut  a  shelf  10  x  6  inches  in  semi-circular  form,  with  five  scallops  on  the  front 
edge,  as  shown  at  A,  Fig.  1.    Cut,  also,  two  small  braces  31-2x2  1-2  inches,  as 


80 


HOUSEHOLD  ELEGAXCIES. 


This  is 
but  little 


in  Fig.  2.  Then  saw  a  back  piece 
shaped,  see  Fig.  2,  as  wide  as  shelf 
is  long  (ten  inches)  and  twelve 
inches  long.  Rub  perfectly  smooth 
and  varnish;  then  put  together 
with  the  two  little  braces  beneath 
the  shelf  against  the  back  at  points 
A  and  B,  and  one  and  one-half 
inches  apart ;  on  the  top  fasten  the 
shelf,  and  between  the  braces, 
rather  below,  on  the  lower  part  of 
back,  place  a  prominent  ornament, 
which  may  be  made  smaller  or 
Fig.  2.  larger,  as  desired, 

a  very  rich  and  tasteful  bracket,  and  may  be  handsomely  gotten  up  at 
cost.    If  desired,  the  ornaments  may  be  carved  by  hand. 

IMITATION  MAEBLE  BRACKET. 


Tliese  brackets  are  appropriate  for  marble  or  bisque  statuettes,  plaster  casts, 


Fig.  3. 

etc.,  which  always  appear  to  greater  ad- 
vantage  upon  tasteful  stands.  To 
have  this  work  smooth  and  white,  the 
finest  matei-ials  are  required ;  and,  in 

order  to  have  a  perfect  representation  Fig.  4. 

of  marble,  great  care  is  required  in  executing  and  arranging.  The  brackets 
here  described  as  a. sample,  are  intended  to  hold  statuettes  four  feet  high. 
They  are  made  as  follows :  Obtain  a  rough  pine  skeleton  of  a  bracket ;  shelf, 
eighteen  inches  long,  twelve  inches  deep,  and  one  inch  thick,  cut  in  ornamental 
shape  Fig.  3 ;  also,  a  bottom  piece  sawed  out  of  inch  wood  of  the  shape  Fig.  4. 
Cover  these  M^ith  white  muslin  or  linen,  the  whiter  the  better,  tacked  smoothly 
over  every  part.  Make  a  quart  of  nice  smooth  paste  in  which  an  ounce  of  white 
glue  has  been  stirred  (after  dissolving)  ;  paste  three  pieces  of  the  muslin  together 


HOUSEHOLD  ELEGANCIES. 


81 


drying  under  a  hea\'y  weight,  cut  from  it  a  number  of  rose-leaves  of  various 
sizes,  with  the  molds  used  for  wax-work,  pressing  the  nmslin  while  damp,  upon 
the  wrong  side  so  firmly  that  each  vein  and  mark  is  plainly  indented ;  add  white- 
covered  wire  for  stems,  either  sewing  them  or  pasting  between  the  layers  of  muslin. 
Cut,  also,  as  if  for  wax  flowers,  petals  for  three  roses,  three  large  and  six  small 
buds ;  also  a  number  of  rose-buds,  and  mold  in  the  same  way,  rolling  and  curling 
the  rose-petals  with  the  wooden  or  steel  molding-tools  in  the  same  manner  as  for 
wax  flowers,  fastening  together 
with  white  glue  and  a  few 
stitches.  Screw  the  shelf  firmly 
to  the  bottom  or  back,  and  with 
three  pieces  of  wooden  hoop 
made  smooth,  form  the  supports, 
cutting  them  to  arch  inward  from 
the  shelf  to  the  point  at  the  bot- 
tom of  the  back,  as  in  Fig.  5 ; 
cover  with  raw  cotton,  over 
which  place  muslin,  and  wind  a 
white  cord  around  them  like  a 
spiral  coil,  as  in  Fig.  6.    Mix  a  Fig.  5. 

little  at  a  time,  of  the  finest  "  plaster  of  Paris,"  in  which  a  little  clear  white 

glue  has  been  dissolved,  and  with  this, 
paint  smoothly  every  part  of  the  founda- 
Fig.  6.  tion.    INIixing  another  quantity,  dip  into 

it  each  leaf,  the  flowers,  buds,  etc.  AVhen  perfectly  white  and  smooth,  fasten 
the  small  leaves  along  the  edge  of  the  shelf,  commencing  at  each  end  and 
making  them  cross  in  the  center ;  coil  them,  also,  as  a  slender  vine  around  the 
braces  or  supports,  and  place  a  cluster  of  the  roses,  buds  and  leaves  at  each  corner 
and  at  the  bottom. 

CORNER-BRACKETS. 

These  admit  of  even  a  greater  amount  of  ornamental  work  than  those  lor  a 
plain  surface,  inasmuch  as  they  necessarily  have  side-pieces,  for  the  support  of 
the  shelf  or  shelves.  The  designs  for  carved  corner-brackets  are  numerous  in 
number  and  variety.  Some  with  a  single  shelf,  others  with  two  and  three ; 
some  with  solid  sides,  and  ornamented  with  heavy  work  in  relief;  others  so 
carved  as  to  appear  like  a  mere  net-work  of  intricate  designs,  or  ^dnes,  leaves, 
and  flowers.  We  offer  some  beautiful  designs,  hoping  to  induce  some  tasteful 
person  to  practice  in  the  Avork  of  wood-carving,  and  improve  upon  the  mere  sug- 
gestions offered  here. 

GILT  cob:ner-bracket. 

Make  a  shelf  one-third  of  an  inch  thick,  rounded  upon  the  front  edge ;  take 
6 


82 


HOUSEHOLD  ELEGANCIES. 


four  stiff  pieces  of  card-board,  which  cut  to  fit  ths  sides  of  the  shelf,  and  run, 
when  placed  together,  to  a  point  above  and  below  the  shelf.  Cut  the  edges  in 
small  scallops,  and  within  these  any  pretty  design,  such  as  scrolls,  stars,  Maltese 
crosses,  etc.  Cut  a  narrow  strip  for  edge  of  the  shelf,  scalloping  it  upon  each 
edge.  Take  fine,  heavy  gilt  paper,  and  damp  the  wrong  side  with  smooth  flour 
paste,  in  which  a  little  glue  has  been  boiled ;  cut  all  the  pie3es  a  little  larger  than 
the  part  they  are  to  cover,  in  order  to  fold  over  the  edges  and  fasten  along  upon 
the  "  wrong  side."  Press  every  part  perfectly  smooth  with  a  clean,  soft  napkin, 
and  edge  with  the  narrow  gilt  paper,  sold  for  a  cent  or  two  per  yard,  by  the 
dealers  in  fancy  stationery.  Make  a  gilt  ornament  for  each  corner,  and  the 
points  at  top  and  bottom  of  back,  by  pasting'the  gilt  upon  stiff  brown  paper ; 
cut  into  rounded  pieces,  like  the  petals  of  a  large,  single  round  flower,  gluing 
them  around  a  little  circular  piece  of  card,  and  placing  a  fancy  button  in  the 
center ;  glue  these  firmly  in  their  proper  positions.  This  forms  a  showy  bracket, 
and  is  easily  constructed.  If  the  paper  is  varnished  with  Demar  varnish  it  will 
not  tarnish.    The  shelf  may  be  painted  or  covered  with  paper. 

GILT  LEAF-BRACKET. 

Make  two  shelves,  the  lower  one  one-third  larger  than  the  upper.  Cut  stiff 
card-board  to  extend  above  the  upper  shelf  (behind)  sufficiently  to  run  up  to  a 
graceful  point,  and  continuing  down  between  the  two  shelves  ;  run  below,  in  the 
same  manner ;  make  strips  to  pass  along  the  front  of  each  shelf,  the  upper  line 
even  with  the  top  of  shelf,  the  lower  an  inch  below.  Cover  all  the  card  with  any 
light  paper.  Cover  some  thick,  brown  paper  with  the  best  plain  gilt-paper, 
making  it  perfectly  smooth.  Cut  from  it,  when  dry,  a  number  of  square  pieces  ; 
some  one  inch,  others  half  an  inch  square,  which,  fold  down  the  middle  from 
point  to  point ;  then  fold  again,  round  off  one  corner  and  Hiake  a  plait  in  the 
other  end,  thus  forming  a  leaf ;  commencing  at  the  point  above,  glue  these  leaves 
upon  the  back  of  the  bracket,  laying  one  row  over  the  ends  of  the  preceding, 
until  the  bottom  point  is  reached ;  make  gilt  leaves  of  two  sizes,  laid  one  in  the 
other,  and  fasten  all  round  the  edge  ;  form  full  rosettes  of  the  leaves  by  sewing  or 
gluing  a  number  of  the  large  ones  upon  the  edge  of  a  circular  piece  of  card 
with  small  ones  in  the  center ;  which,  fasten  at  the  points  (top  and  bottom),  also 
at  the  corners  of  the  shelves.  Fasten  a  double  row  of  leaves  along  the  edges  of 
the  shelves  ;  large  ones  below  and  small  ones  above,  finishing  with  narrow  gilt 
paper.  Screw  the  shelves  against  the  back  (through  the  wrong  side  of  the  back), 
and  hang  by  cords  passed  through  holes  in  both  shelves. 

BOOK-HACKS. 

Besides  the  tiers  of  shelves  in  the  library,  and  large  enclosed  book-case  in 
the  ordinary  sitting-room,  it  is  frequently  »  great  satisfaction  and  convenience 
to  have  a  convenient  place  for  the  few  books  in  daily  use.    And  as  beautiful 


HOUSEHOLD  ELEGANCIES. 


83 


objects  are  always  more  pleasing  than  merely  ordinary  and  "  homely  "  ones,  we 
append  descriptions  of  two  or  three  pretty  book-racks  and  shelves,  which  will  be 
found  to  be  both  tasteful  and  convenient. 

MARBLE-CEOSS  BKACKET. 


Fig.  7. 


The  back  of  this  cross  must  be  made  of  hard  white  wood,  in  shape  of  an 
ornamental  cross  painted  white,  and  when  perfectly  dry  sized  with  white  glue 
and  covered  with  muslin.  To  this,  fasten  a  shelf,  cut  from  inch-thick  wood,  and 
from  edge  to  the  bottom  of  the  back  which  is  cut  as  broad  as  the  shelf  at  top, 
and  running  to  a  point,  lay  the  stiffened  muslin  (described  in  making  the 
"  Marble  Bracket ")  in  fluted  folds,  broad  and  deep  at  the  top,  and  gathered 
to  a  cluster  at  the  bottom;  pahit  all  with  the  plaster  of  Paris;  make  three 
clusters  of  grapes  by  tying  small  white  marbles  in  muslin,  with  stems  of  white 
wire;  also,  vine -leaves  of  three  sizes,  from  the  stiff  muslin;  dip  all  separately 


84 


HOUSEHOLD  ELEGANCIES. 


into  the  liquid  plaster  and  dry- 
Cluster  a  bunch  of  grapes  and  two 
leaves  with  a  spray  upon  the 
lower  point,  and  one  likewise  at 
each  corner,  with  a  vine  of  small 
ones  along  the  edge  of  the  shelf ; 
ornament  the  cross  with  a  delicate 
vine. 

Should  this  work  become 
soiled,  a  coat  of  the  plaster  will 
restore  it  to  its  original  pristine 
purity  and  whiteness.  Unless 
examined  closely,  it  cannot  be 
distinguished  from  genuine  mar- 
ble. The  plaster  hardening  rapidly,  only  a  small  portion  should  be  mixed  at  a 
time.  A  coat  of  thin  Demar  varnish  gives  the  marble  a  glossy  appearance  and 
prevents  its  soiling  so  easily ;  but  should  not  be  applied  if  at  all  yellow,  as  it  will 
mar  the  pure,  snowy  whiteness  of  the  composition. 

COTTAGE  BOOK-EACK. 

Obtain  from  a  dry-goods  store  three  boards,  such  as  calico,  etc.,  are  rolled 
upon,  selecting  graduated  sizes.  Bore  holes  through  the  ends,  two  at  each  end, 
in  such  a  manner  that  the  cords  will  hang  perpendicular.  The  first  shelf  will 
thus  have  an  inch  or  two  of  margin  at  each  end  ;  the  second  only  one,  and  in  the 
third,  or  top  shelf,  the  cords  will  be  at  the  edge.  Cover  these  shelves  with 
brown  glazed  muslin,  or  stain  and  varnish  them.  From  stiff  brown  paper,  cut 
several  dozens  of  square  pieces,  which,  round  off  at  the  corners,  and  fold  in  box 
plaits,  thus  forming  a  leaf ;  stiffen  with  thick  flour  paste  and  glue,  and  dip  in 
Japan,  or  Copal  varnish ;  when  dry,  tack  along  the  edge  of  shelves,  commencing 
at  the  ends  ;  fold  one  over  the  other,  ending  in  the  center ;  where  place  a  rosette, 
made  by  sewing  the  leaves,  made  in  three  sizes,  upon  a  circular  piece  of  paper. 
Take  strong  twine,  on  which  string  spools  (No.  40),  placing  button-molds  be- 
tween each  spool,  either  two  or  more,  putting  the  fiat  sides  together.  Then, 
having  spools  and  molds  upon  four  strings,  pass  one  end  of  each  through  the 
four  holes  in  lower  shelf ;  securing  with  a  knot,  hidden  by  a  tassel  made  of  the 
smallest  button-molds.  Sufficient  spools  placed  upon  the  twine  to  make  a  proper 
distance  between  the  two  shelves,  place  the  second  shelf  in  place ;  and  passing 
the  string  through  the  holes,  string  spools  of  No.  50  upon  them,  and  smaller 
sized  button-molds,— then  place  the  third  shelf  in  position  in  the  same  manner, 
and  string  very  small  spools  and  molds  upon  the  cords  ;  finishing  with  tassels 
similar  to  those  below.  The  spools  and  molds  must  all  be  stained  and  var- 
nished.   This  forms  a  beautiful  set  of  shelves. 


HOUSEHOLD  ELEGANCIES. 


85 


BRACKET  IN  CONE-WORK.— MATERIALS. 

Beech-nut  hulls,  j^ine  cones,  acorns,  fruit-stones,  etc.,  card-board,  moire  paper, 
a  small  plate  of  wood,  glue,  and  varnish.  These  brackets  are  especially  pretty 
on  each  side  of  a  looking-glass.  Our  model  consists  of  a  little  wooden  shelf 
eight  inches  long  at  the  back,  four  inches  wide,  and  rounded  at  the  front ;  to  this 


Fig.  9. 

is  attached  the  lambrequin  of  card-board  covered  with  brown  moire  paper ;  the 
shape  may  be  easily  seen  from  the  illustration.  The  cone-work  is  glued  on  in  the 
usual  manner,  tasteful  bouquets  being  arranged  of  beech-nuts,  pine  cones,  acorns, 


86 


HOUSEHOLD  ELEGANCIES. 


apricot  stones  and  the  like.  The  points  of  the  lambrequin  are  decorated  with 
acorns  depending  on  a  wire  loop.    When  finished,  cover  with  good  varnish« 

CHINESE  SHELF. 

This  pretty  hanging  shelf,  although  simple  in  construction,  is,  nevertheless, 
very  elegant  and  tasteful  in  appearance.  It  is  intended  to  be  one  of  a  pair, 
with  little  stands  beneath,  made  to  correspond  with  the  shelves.  The  shelf 
being  a  corner  one,  is  of  course,  a  triangle  ;  the  front  of  which  should  be  a  grace- 
fully-rounded curve,  and  decorated  upon  the  upper  surface  with  the  curious 
figures  and  designs  peculiar  to  Chinese  adornments.  These  may  be  procured  in 
sheets,  such  as  are  sold  for  Potichmanie  work.  These  must  be  carefully  cut 
around  and  pasted  upon  the  shelf,  which  is  then  varnished ;  along  the  edge  is  a 
deep  band  of  card-board,  cut  upon  the  lower  part  in  square  points,  as  seen  in 
the  diagram  below,  thus  : 


Fig.  10.   Chinese  Slielf. 

Upon  each  point  is  suspended,  by  a  bright-colored,-delicate  silken  cord,  a  little 
gilt  bell,  or  button ;  holes  are  made  in  the  back  and  two  front  corners,  through 
which  bright-colored  cord  is  passed,  for  suspension.  These  should  be  long,  in 
order  to  hang  gracefully ;  a  bunch  of  tassels  is  placed  at  the  top  where  the  cords 
nieet.  ******  Elegant  shelves  are  made  by  covering  the  shelf  with 
velveteen,  reps,  brocatelle,  or  other  rich  material ;  and  ornamenting  the  edge 
with  pieces  of  the  ornamental  gilt  and  walnut  cornice-moldings.  With  heavy 
silken  cords  and  tassels,  these  shelves  are  highly  ornamental ;  whether  arranged 
as  side  or  corner  shelves;  especially  with  ''hour-glass  stands''  covered  with  the 
came  material  and  ornamented  in  the  same  style,  placed  beneath  them.  Corner- 
stands  and  shelves  of  this  kind  are  particularly  appropriate  and  beautiful  for  a 
tastefully-furnished  chamber,  or  morning-room.  They  are  at  once  inexpensive 
and  tasteful  when  covered  with  light  chintz,  braided  in  bright  colors ;  or,  with 
deep-colored  material,  pink,  blue,  or  crimson  paper-cambric,  and  covered  with 
Swiss  or  tarlatan,  with  ribbon  bows  and  quillings. 

A  CORNER  BOOK-RACK. 

Have  secured  two  shelves,  the  lower  one  two-thirds  larger  than  the  upper  one, 
allowing  the  one,  perhaps,  to  be  eighteen  inches  on  the  sides,  the  other  six  inches. 


HOUSEHOLD  ELEGANCIES. 


87 


Fig.  11.   Corner  Book-Rack. 


Cut  out  two  side-pieces  of  card-board, 
thirty-six  inches  long  and  of  the  form 
shown  in  the  diagram;  marking  it  off 
into  three  divisions ;  one  part,  twelve 
inches,  to  be  below  the  large  shelf,  and 
to  extend  one  inch  beyond  it,  running 
to  a  point  in  the  corner ;  the  second  ex- 
tending between  the  two  shelves,  and, 
diminishing  in  size  upward,  is  eighteen 
inches  in  length ;  and  the  point  above 
the  little  upper  shelf  six  inches.  These 
pieces  are  cut  out  in  an  ornamental  scroll 
on  the  edges  as  shown  by  the  diagram. 
The  lower  shelf  intended  for  books,  and 
upper  one  for  vase  of  flowers  or  pot  with 
vine  or  trailer,  are  stained  with  mnber 
and  varnished ;  as,  also,  the  card-board. 
When  dry,  the  shelves  have  holes  bored 
in  each  corner,  and  are  glued  to  the  side. 
Cords  are  passed  through  the  holes  in 
the  shelves,  and  knots  made  beneath 
each  shelf  in  order  to  aid  in  supporting 
them;  and  a  bunch  of  tassels  hangs 
above  the  upper  shelf,  against  the  card- 
board. This  is  an  extremely  graceful 
and  elegant  shelf;  especially,  when  a 
pretty  ornamental  glass  with  trailing 
vine  is  placed  upon  the  upper  shelf  which 
falls  in  long  sprays  almost  to  th3  one 
beneath ;  intended  for  books,  w  o  r  k- 
basket  or  other  articles,  necessary  in  a 
sitting-room  or  chamber. 


RUSTIC  COENER-BEACKET. 

This  frame  may  be  made  of  pine  boards  for  the  shelves,  and  stiff  pasteboard 
sides.  Paint  or  stain  with  umber  or  Vandyke  brown  in  vinegar,  then  rubbed 
smooth  with  sand-paper  and  varnished  with  Copal.  When  card-board  is  used  for 
th3  sides,  it  becomes  necessary  to  have  cords  for  suspending,  passed  through 
the  shelves,  and  secured  with  a  knot  below  each  sheK.  Thin  wood  for  sides 
obviates  this  necessity.  Form  a  beading  along  the  edge  of  the  sides  or  back, 
with  peach-stones,  cut  in  two  (these  within  the  line),  upon  the  edge,  cherry-stones, 


88 


HOUSEHOLD  ELEGANCIES. 


stained.  Draw  a  design  with  crayon  upon  the  surface  of  the  sides  ;  which  cover, 
as  the  taste  may  dictate,  with  scales  from  pine  cones,  paw-paw,  seed  apple,  water- 
melon, musk-melon,  and  tamarind  seed ;  arranged  in  such  a  manner  that  the  vai'i- 
ous  colors  will  contrast  or  harmonize  well,  as  the  case  may  be.  By  dusting  black 
pepper,  or  coal-dust  upon  the  varnished  surface,  the  various  pieces  may  be  glued 
perfectly  tight.  Some  parts  of  the  design  may  be  made  more  beautiful  by  imi- 
tations creased  upon  the  smi'ace  of  the  wood  with  hot  iron;  which  will  give 
various  shades  of  black  and  brown  that  appear  like  inlaid  wood.  Small  cones, 
acorns,  lichen,  and  pieces  of  bark,  cut  into  shape  and  dried  under  press,  may  also 
be  introduced  with  good  effect. 

Another  tasteful  mode  of  ornamenting  this  bracket  is  by  using  nuts  of  various 
kinds  :  thus,  for  the  beading,  the  glossy  brown  "  chinquepins,"  and  smallest  of 
filberts,  with  pecans.  Brazil-nuts,  English  walnuts,  chestnuts,  shell-barks,  black 
walnuts,  and  acorns,  cut  in  two,  and  grouped  upon  the  side  pieces  in  fanciful 
designs,  filled  up  with  scales  from  pine  cones,  or  coffee  berries ;  and  clusters  of 
whole  nuts  at  the  corners. 

Shells,  of  various  kinds,  ai'ranged  with  artistic  taste,  form  a  beautiful  corner- 
piece,  and  these  present  so  many  fine  shades  and  colors,  that  they  can  readily 
be  so  combined  as  to  give  beautiful  designs  of  mosaic  patterns. 

SHELVES  WITH  LAMBEEQUINS. 

The  highly-ornamental  shelves,  now  so  popular  with  draperied  hangings  are, 
perhaps,  more  graceful  and  rich  than  any  others.  The  modes  of  ornamenting 
lambrequins  are  multiplied ;  from  a  simple  Swiss  muslin,  adorned  in  rustic 
style  with  autumn  leaves,  to  rich  silk  velvet  with  heavy  gold  embroidery. 

A  corner  shelf,  covered  with  green  reps,  and  trimmed  across  the  front  with  a 
rich  brown  lambrequin,  with  application  embroidery  of  green,  is  exceedingly 
beautiful ;  Oak  leaves  are  cut  from  green  velveteen,  a  cluster  of  large  ones  in 
the  center,  with  small  ones  at  the  sides ;  the  leaves  fastened  with  stitching,  done 
in  button-hole  stitch,  of  silk  of  a  deeper  shade,  and  acorns  in  silk  embroidery 
with  two  shades  of  brown,  darker  than  the  foundation ;  the  edge  finished  with 
fringe,  and  tassels  at  the  corners,  with  long  suspension  cords  and  a  bunch  of 
tassels  at  the  top.  Another  handsome  one  is  made  of  purple  velvet,  with  an 
embroidery  of  pearl  and  crystal  beads.  The  design  is  drawn  upon  tracing- 
paper,  and  pricked  through ;  then  powder,  dusted  .upon  it,  will  leave  the  design, 
in  white,  upon  the  velvet.  It  is  then  traced  around  with  working-cotton,  and 
various  flowers  and  leaves  raised  with  it,  by  stitching  it  loosely,  backward  and 
forward,  until  of  sufficient  height ;  the  beads  are  then  strung  and  sewed  upon 
the  flowers,  etc.,  which  makes  a  deep  hollow  in  the  center,  in  which  a  large 
pearl  bead  is  fastened ;  a  heavy  bead  fringe,  and  silken  cords  and  tassels 
finish  it. 


HOUSEHOLD  ELEGANCIES. 


89 


Another  mode  of  adorning  these  lambrequins  is  by  means  of  pictures  in 
Decalcomanie.  Exceedingly  lovely  scenes,  bouquets,  etc.,  are  so  printed  that 
when  transferred  to  even  dark  surfaces,  they  appear  perfectly  distinct ;  and  a 
fine  view,  or  rich  bouquet  or  basket  of  flowers,  with  lovely  garlands  around  the 
edges,  or  beautiful  faces,  and  rich  borders  in  mosaic  upon  a  bright  silk  founda- 
tion is,  perhaps,  as  beautiful  a  mode  as  can.  be  employed. 

CLOCK-SHELF. 

As  clocks  vary  greatly  in  size,  as  a  general  rule,  the  back  should  be  about  an 
inch  wider  than  the  clock  to  be  accommodated.  Cut  this  in  some  tasteful  shape, 
and  saw  two  triangular  pieces  as  braces,  upon  which  the  shelf  is  to  rest.  Fasten 
these  to  the  back,  which  may  i^roject  very  slightly  above  them,  in  order  to 
fasten  against  the  shelf  (B)  ;  make  the  supports  six  inches  long  at  the  back ; 

screw  the  shelf  securely 
against  the  back  and  upon 
the  braces ;  saw  the  back  be- 
tween the  braces,  and  under 
the  shelf,  in  an  arch.  This 
forms  a  secure  foundation, 
upon  which  any  kind  of  orna- 
mentation may  be  placed.  A 
pretty  one  consists  of  a  bead- 
ing, formed  of  the  hard  cir- 
cular tops  from  dried  poppy 
seed-vessels,  which,  when  var- 
nished, look  precisely  like  ex- 
quisitely-carved wood.  This 
along  the  edge  of  shelf,  around 
Fig.  12.  Clock-Shelf.  the  arch  beneath  (on  back), 

and  upon  the  edges  of  supports;  gi'oups  of  small  leather -leaves  and  clusters  of 
berries,  made  from  cherry-seed,  or  a  group  of  nuts,  upon  the  center  of  arch  ;  and 
also,  on  the  bottom  of  supports,  smaller  clusters  of  the  same.  When  done  orna- 
menting, varnish  with  Copal.  A  combination  of  leather-leaves,  nuts  and  acorns 
is  pretty ;  also,  the  brown  paper  leaf -work,  or  shells  and  coral ;  or  an  inlaid  pat- 
tern in  mosaic  ;  chains  of  strung  cloves,  or  sections  of  cherry-stones  form  a  beau- 
tiful addition,  festooned  around  the  shelf,  hanging  in  long  pendant  loops  and  ends, 
with  a  tiny  basket  cut  from  a  stone,  as  a  fij;iish  on  each.  When  such  a  shelf  is 
formed  of  pine  wood,  it  may  be  made  really  beautiful  by  covering  every  portion 
of  it  with  the  scales  of  pine  cones ;  forming  a  beading  of  small  cones,  halved,  and 
ornamenting  with  groups  of  large  cones  and  leaves  formed  of  scales  glued  upon 
brown  pasteboard,  cut  into  appropriate  shapes. 

It  is  always  in  good  taste  to  adapt  the  shelf  to  the  style  of  clock  to  be  placed 


90 


HOUSEHOLD  ELEGANCIES. 


upon  it.  The  ordinary  walnut  clocks  may  be  ornamented  to  correspond  with 
the  shelf;  and  thus  a  i^lain,  and  perhaps,  liomel}^,  piece  of  furniture  maybe 
changed  into  one  of  great  beauty.  AV'e  have  seen  a  clock  of  marble,  upon  a 
scallop-shell,  with  statuette  of  Venus  upon  the  summit,  which  had  a  lovely  shelf 
made  for  it,  perfectly  adapted  to  its  artistic  style. 

It  consisted  of  a  shelf  of  pine,  rather  larger  than  bottom  of  clock,  with  piece 
below  the  shelf  at  the  back ;  against  which,  two  inches  within  ths  sh?lf,  the  sup- 
ports were  placed.  This  back  was  covered  with  a  layer  of  putty  spread  upon  it 
while  damp  with  glue,  upon  which  was  arranged  small  shells,  in  flowers,  leaves, 
etc.,  filled  in  with  tiny  rice-shells.  The  roses  were  made  of  the  pretty  pink  rose- 
leaf  shells,  as  described  in  chapter  on  Shell- Work,  the  leaves  of  long,  narrow 
shells,  fastened  upon  card-board  foundations.  Each  rose  has  in  its  center,  a  tiny 
china  doll-head ;  the  crimson  ones  with  dark  hair,  the  white  and  bluish-colored 
ones  with  the  golden  or  flaxen-haired  bisque  kind.  A  border  or  vine  of  these  shell- 
flowers  was  arranged  around  the  arch,  a  large  rose  forming  the  center,  the  wreath 
diminishing  to  the  bottom ;  a  pretty  border  of  shells  Avas  arranged  along  the 
edge  of  the  shelf,  down  the  front  of  the  brackets,  etc. ;  and  a  pretty,  chubby 
bisque  doll  placed  upon  the  front,  under  the  shelf,  above  the  v/reath  on  the 
arch,  and  formed  into  a  little  marine  god,  with  wings  of  pretty  shells  of  suitable 
shape;  and  either  seated  upon  a  pretty  shell  or  riding  in  a  conch-shell,  sur- 
rounded by  pieces  of  coral  and  rock  with  shells  and  other  marine  treasures. 

Another  elegant  shelf  for  such  a  clock  is  made  by  covering  a  plain,  pine 
frame-work  with  white  muslin,  sewing  loops  of  twine,  candle-wick  or  crochet- 
cotton  upon  it,  and  suspending  it  in  a  solution  of  alum,  until  handsomely  crys- 
tallized ;  upon  this  arrange  sprays  of  white  and  scarlet  coral,  shells,  and  pretty 
pebbles  and  stones.  Select  two  tiny  bisque  dolls,  upon  which  place  shell-wings, 
and  a  girdle  or  sash  of  smallest  rice-shells  strung  upon  thread,  using  a  sufficient 
number  of  rows  to  hang  almost  to  the  knees ;  fasten  two  shells  of  appropriate  size 
and  shape  at  the  termination  of  each  brace,  and  fasten  the  little  sea-gods  in  them 
or  upon  them  with  cement.  Form  a  sea-nymph  of  one  of  the  exquisite  blonde 
dolls  that  may  be  found  in  bisque ;  and  fastening  a  cluster  of  beautiful  pearl 
shells  upon  the  front  of  the  under  part  of  the  shelf,  arrange  the  nymph  to  appear 
as  if  rising  out  of  them.  Among  the  shells  in  the  collections  for  sale,  some  may 
be  found  so  delicate  as  to  appear  like  silken  scales ;  others  of  pearl,  with  lovely 
opalescent  hu3s,  that  look  as  if  the  sun's  rays  were  constantly  shimmering  and 
quivering  upon  them  with  all  the  bright  hues  of  the  rainbow.  These,  and  many 
others  should  be  selected  as  appropriate  for  the  dress  and  adornment  of  the 
figures.  Strung  (through  the  minute  holes  pierced  through  them)  upon  threads 
of  fine  wire,  they  may  be  arranged  to  appear  like  dresses  of  opalescent  pearl 
woven  under  the  sea-waves  by  fairy  mermaids.  Another  suitable  and  exceed- 
ingly lovely  material  for  such  part  of  the  work  are  the  bright,  pearly  fish-scales. 
When  a  suitable  figure  can  be  procured,  of  a  rather  weather-beaten  old  sea- 


HOUSEHOLD  ELEGANCIES. 


91 


voyager,  Neptune  may  be  portrayed  riding  in  his  chariot  of  shells,  drawn  by  a 
sea-monster,  with  trident  in  his  hand,  etc.  As  these  clocks  of  ornamental  char- 
acter are  costly,  it  may  be  well  to  suggest  that  a  very  satisfactory  and  tasteful 
one  may  be  formed  by  using  an  ordinary  clock ;  and,  covering  with  shells,  upon 
a  foundation  of  putty  or  shell  cement.  By  placing  large  shells  in  proper  posi- 
tions, with  beading  of  small  ones,  of  uniform  size,  along  the  edges,  larger  ones 
within,  and  clusters  of  flowers  in  conspicuous  positions,  an  elegant  clock  is 
formed,  from  rather  homely  materials. 

MANTEL  WITH  LAMBEEQUIK. 

As  marble,  or  even  iron  man- 
tels, are  comparatively  expens- 
ive, it  is  desirable  to  form  such 
useful  appendages  to  a  room 
in  some  way  that  will  at  once 
be  within  our  means,  and  taste- 
ful, as  well.  When  iron  brackets 
may  be  procured,  they  are  per- 
haps more  desirable  than  any 
others  ;  but  those  of  wood  may 
be  made  more  ornamental,  and 
can  be  so  formed  as  to  be  quite 
Fig.  13.  as  strong.     The  heavier  and 

longer  the  brackets,  the  more  rich  and  ornamental  may  the  work  be  made ;  for  a 
mantel  five  feet  long  by  eighteen  inches  to  two  feet  deep,  the  brackets  should 
bo  eighteen  inches  long  and  sixteen  inches  on  the  top.  They  may  be  sawed  out 
of  hard  wood,  such  as  "svalnut  or  oak,  or  of  pine,  stained  in  imitation  of  dark 
wood,  or  covered  with  veneering.  Handsome  mantel -brackets  are  made  by  cov- 
ering the  face  with  a  vine  of  grape,  ivy,  or  convolvulus-leaves  of  leather,  with  clus- 
ters of  grapes,  flowers  or  berries  at  the  base,  to  correspond  with  the  leaves ; 
cover  the  shelf  with  reps  or  moreen,  to  correspond  wdth  the  furniture,  placing 
a  row  of  fringe  along  the  edge,  fastened  with  gilt-headed  tacks. 

Another  mode  is  to  cut  the  brackets  in  graceful  shape  of  pine ;  rub  smooth 
with  fine  pumice  or  emery  paper,  and  decorate  with  vine  or  "  spatter-work ;  " 
screw  the  shelf  securely  on  them,  and  cover  with  scarlet  or  any  colored  material 
desired,  finishing  the  front  with  lambrequin.  This  may  be  richly  embroidered 
with  silk,  or  "  ax^pliquc,"  upon  the  material,  or  canvas  used  for  the  lambrequin, 
and  embroidered  in  the  German  style. 

For  a  chamber,  these  lambrequins  may  be  made  of  chintz  or  cambric,  corre- 
isponding  with  the  covering  of  furniture  and  bed ;  and  for  summer,  white  pique, 
or  solid,  gay-colored  cambrics,  with  over-covers  of  Swiss,  are  deliciously  cool  and 


92 


HOUSEHOLD  ELEGANCIES. 


tasteful  looking ;  and  for  dining-room,  a  lambrequin  embroidered  with  designs 
of  fruit,  game,  etc.,  is  appropriate  and  elegant. 

For  a  tasteful  but  inexpensive  parlor,  an  elegant  mantel  is  made  tluis :  Cut 
two  semi-circles  of  pine  wood,  twelve  inches  long  by  eight  inches  dsep  at  the 
broadest  point,  of  "inch  stuff."  Make  two  triangles,  sixteen  inches  long  by 
eight  inches  wide ;  cover  these  with  close,  stout,  white  muslin,  tacking  it  on 
perfectly  smooth.  Have  a  strip  of  smooth  board,  five  feet  long  and  eighteen 
inches  broad,  sawed  out  at  the  lower  part,  in  two  arches,  forming  a  point  in  the 
center ;  cover  this  also  smoothly  with  the  muslin  :  also  a  shelf  two  inches  longer, 
and  twelve  deep,  of  "one-inch  stuff."  Nail  the  back  in  proper  position 
against  the  wall,  then  the  brackets  against  it,  placing  them  one  "inch  wdthin  the 
edge  of  the  back,  nt^iling  the  sheK  upon  them  securely.  Make  a  quart  or  more 
of  smooth,  flour  paste,  boiling  well,  and  adding  a  half-pint  of  clear,  white  glue ; 
paste  together  three  thicknesses  of  muslin,  press  perfectly  smooth,  and  from  it 
cut  a  number  of  oak  and  ivy  leaves — using  the  wax-flower  leaf-molds — pressing 
them  upon  the  molds  while  damp,  in  order  to  impress  the  veins  and  markings 
on  the  surface.*  Take  wire  as  thick  as  a  knitting-needle,  which  cover  with 
narrow  strip  of  the  cotton  wound  neatly  around.  Make  tendrils  by  twining 
crochet-cotton  around  a  knitting-needle.  White-covered  wire,  such  as  is  used 
for  the  same  purpose  in  wax  flowers,  will  answer  well  for  these  leaves ;  pieces 
two  inches  long  should  be  inserted  between  the  layers  of  muslin,  for  fastening 
them  together.  Obtain,  also,  a  few  clusters  of  acorns  and  pretty  twigs,  and  make 
bunches  of  berries  by  tying  peas  in  muslin,  inserting  wire  for  stems,  and  forming 
into  clusters.  These  preparations  finished,  proceed  to  fasten  the  ivy  along  the 
front  edge  of  the  shelf,  connnencing  at  each  end,  and  covering  the  stem  of  the  last 
by  the  point  of  the  next,  arranging  them  carelessly  in  double  row ;  when  the  two 
vines  meet  in  the  center,  form  a  cluster  of  the  largest  leaves,  and  arrange  berries 
among  them ;  place  a  few  clusters  of  berries  also  among  those  along  the  edge. 

For  the  under-piece,  or  back,  beneath  the  shelf,  which  is  shaped  like  Fig.  14, 
cut  a  piece  of  the  thick,  three-doubled  muslin,  of  the  shape  of  the  board,  but 
three  times  as  long,  which,  fold  into  fluted  plaits  at  the  point,  sewing  them  to- 
gether longitudinally,  not  flat;  then,  securing  to  the  point  with  a  strong  nail, 
draw  these  plaits  out  to  the  points  where  the  shelf  and  brackets  meet  it,  in  wide 

fluted  plaits.  Make  a  quan- 
tity of  edging  by  plaiting 
together  long  strips  of  stif- 
fened muslin,  which  tack 
with  small  gimp-tacks  along 
the  edges  requiring  covering. 
Fig.  14.  At  the  point  where  tlie  plaits 


*The  outside  of  the  leaves  might  better  be  of  fine  jaconet  or  cambric,  as  this  will  retain  the 
impress  better. 


HOUSEHOLD  ELEGANCIES.  93 

are  collected,  group  a  number  of  oak  leaves  and  acorns,  with  a  few  sprays  of  ivy ; 
the  same,  of  smaller-sized  leaves,  etc.,  at  the  bottom  brackets,  with  vine  of  ivy, 
and  clusters  of  berries  along  the  face  of  same.  AVhen  all  are  arranged,  having 
some  fine  French  plaster,  mixed  with  a  little  white-glue  water  to  the  consistency 
of  thick  cream,  proceed  to  paint  every  part  of  the  work  with  the  wash  ;  using  for 
the  i^urpose,  a  round,  fine-bristled  varnish  brush  for  the  leaves,  etc.,  and  a  broad, 
flat  brush,  for  the  flat  parts  ;  a  very  small  bristle  brush  may  be  required  for  some 
fine  parts.  When  finished,  allow  to  dry ;  then  give  a  second  coat,  using  the  wash 
thinner. 

By  using  potters'-clay  with  glue,  instead  of  plaster,  the  work  will  appear  the 
color  of  the  celebrated  "  Roger's  Groups  "  of  statuary,  and  is  beautiful  for  din- 
ing-room or  chamber  mantel-shelves. 

In  any  case,  the  work  is  intended  to  appear,  as  much  as  possible,  like  carved 
marble  or  stone ;  therefore,  the  ornamental  parts  must  not  be  crowded  nor  added 
too  profusely,  as  this  would  not  only  spoil  the  effect,  but  appear  artificial. 

Should  the  work  become  soiled,  it  may  be  renewed  by  a  coat  of  the  wash. 
The  wash  or  paint  should  be  used  thin  ;  as,  if  too  heavy,  it  will  cover  the  beauti- 
ful veining  in  the  leaves,  and  otherwise  mar  the  fine  effect  by  appearing  heavy 
and  rough. 

An  exceedingly  dazzling  white  is  produced  by  using  the  paint,  the  recipe  for 
which  is  given  below.  If,  while  damp,  a  slight  sprinkle  of  the  very  finest 
"  diamond  powder  "  is  dusted  lightly  upon  the  surface,  the  brilliancy  is  greatly 
increased ;  and  where  rooms  are  desired  very  brilliant  for  an  evening  entertain- 
ment, nothing  can  be  conceived  which  will  produce  such  an  exquisitely  lovely 
effect  as  brackets,  lamp  or  candle  stands,  flower- shelves,  etc.,  made  as  here  de- 
scribed; which  will  appear  like  frosted  marble,  and  reflect  from  the  crystal  orna- 
ments, thousands  of  glittering  sparks  like  gems  of  fire.  Sprays  of  flowers,  and 
long  garlands  of  leaves  may  be  thus  formed,  and  twined  about  chandeliers,  or 
festooned  around  windows,  or  wreathed  about  pillars ;  and  change  an  otherwise 
plain  and  unpretending  room,  to  a  scene  fairy-like  in  its  array  of  fantastic  and 
glittering  beauty,  and  ethereal  in  the  purity  and  exquisite  loveliness  of  the  white 
frosted  ornaments. 

For  festivals,  fairs,  or  other  occasions,  large  flowers  and  leaves  or  other  orna- 
ments may  be  made  as  directed  above,  richly  frosted  and  fastened  upon  various 
parts  of  the  curtains,  walls  or  tables,  and  form  an  inexpensive  and  yet  won- 
drously  brilliant  effect.  Small  and  delicate  garlands,  for  ornamenting  cakes, 
fruit-stands,  and  other  table  decorations,  are  equally  beautiful. 

BRONZED  MANTEL-SHELF. 

This  shelf  is  made  of  either  black  walnut  or  pine  wood.  The  brackets  (or 
braces)  are  sawed  out  in  an  ornamental  design  as  in  Fig.  15.  The  shelf  is 
not  cut  straight  along  the  front,  but  is  curved  as  in  Fig.  18,  and  finished  with  a 


94 


HOUSEHOLD  ELEGANCIES. 


molding.  There  is  a  back  slab  beneath  the  shelf,  which  is 
also  cut  in  ornamental  shape,  with  a  point  in  the  center. 
The  shelf  and  brackets  sawed  out,  of  suitable  size,  make  a 
paste  of  flour  and  common  glue,  with  sufficient  burnt  umber 
to  color  a  brown.  With  this  paste,  fasten  together  from  four 
to  six  thicknesses  of  brown  muslin,  which,  when  partially 
dry,  press  perfectly  smooth  with  a  warm  iron ;  cut  from  this 
stiff  muslin  a  number  of  ornamental  leaves,  similar  to  Fig.  IG, 
fluting  them,  and  gathering  together  into  a  close  cluster  at 
the  bottom.  Cut  out,  also,  an  ornament  like  Fig.  17,  greatly 
enlarged,  making  four  of  them  five  inches  in  diameter  (the 
smallest) ;  pass  these  through  a  fluting-iron,  and  gather  the 
Fig.  15.  narrow  parts  into  a  cluster;  placing  a  cluster  of  leaves  and  a 

flower  in  the  center  as  a  finish.  The  wood-work  is  rubbed  very  smooth,  and 
the  brackets  screwed  against  the  back,  wdth  the  shelf  fastened  securely  upon 
them.  The  entire  work  is  then  painted  with  the  liquid 
bronzing  sold  in  bottles,  at  the  art  emporiums.* 

This  done,  arrange  the  fluted  leaves  upon  the  edges  of  the 
brackets,  around  the  lower  part  of  the  back  and  upon  the 
edge  of  the  shelf,  which  should  be  one  inch  wide  below  the 
molded  edge ;  if  it  is  not  convenient  to  use  a  heavy  inch 
plank,  a  half  inch  one  will  answer,  perhaps  better,  and  an 
edge  may  be  made  of  the  stiffened  muslin,  or  a  strip  of  heavy 
pasteboard. 

The  fluted  ornamental  leaves  must  be  fastened  to  the  point 
of  back  below  the  shelf,  and  clusters  of  leaves  of  smaller  size 
at  the  point  of  each  bracket.  When  all  the  ornaments  are 
fastened  on,  they  must  be  painted  with  the  bronze,  using  a 
large  camel's-hair  brush. 

If  preferred,  large  heads  may  be  glued  upon  the  center  of 

the  fluted  leaves,  with  small  ones  in  the  cluster  of  leaves  on 
the  brackets,  bronzing  them  to  correspond  with  the  rest  of 
the  ornaments.  This  mantle  is  exceedingly  beautiful  and 
chaste,  and  the  imitation  is  so  perfect,  that  many  are  entirely 


Fig.  17. 


deceived,  supposing  at  a  first  glance  that  it  is  solid  brt 


Fig.  18. 


Brackets  ornamented 


*It  will  require  from  a  pint  to  a  quart  to  bronze  one  mantle  (according  to  size),  but  when  fin- 
ished, the  work  is  so  elegant  and  richly  ornamental,  as  to  fully  compensate  for  the  comparatively 
trifling  cost  of  the  bronzing. 


HOUSEHOLD  ELEGANCIES. 


95 


ill  this  style  are  very  suitable  for  holding  various  elegant  articles,  such  as  statu- 
ettes, cigar-holders,  vases,  etc.,  which  are  made  of  bronze. 

If  at  any  time  the  work  becomes  marred,  a  touch  with  the  bronzing  immedi- 
ately restores  it,  and  makes  all  bright  and  well  again. 

HANGING-SHELF  WITH  LAMBKEQUIK 

This  shelf  is  designed  for  a 
corner,  and  will  be  found  a  most 
tasteful  as  well  as  useful  ad- 
dition to  a  sitting-room  or  bed- 
chamber, for  the  purpose  of 
holding  a  few  favorite  books, 
a  M'Ork-basket,  etc. 

The  sheK  A,  Fig.  21,  is  of  tri- 
angular form,  rounded  outward 
in  front;  dimensions,  14  x  18 
inches;  the  side-piece  B,  Fig.  22, 
is  8  X  14,  and  C,  Fig.  20,  is  the 
lambrequin,  extending  along 
the  front.  The  design  is 
worked  in  cross-stitch  em- 
broidery on  coarse  canvas ; 
the  ground-work  of  wjiich  is 
tilled  in  with  crystal  beads,  one 
on  every  thread — four  to  every 
stitch  of  embroidery.  The  side- 
»rig.  19.  pieces  are  embroidered  in  the 

same  manner,  with  beads  and  zephyr,  but  upon  much  finer  canvas.  Cord  finishes 
the  edges  of  the  top,  and  a  heavy  bead  fringe  the  bottom,  of  the  lambrequin. 

RUSTIC  BRACKET. 

This  may  be  termed  an  "impromptu"  bracket,  as  it  is  quickly  made  from 

materials  gathered  about  any  country 
home.  The  half  of  a  keg  or  barrel  cover 
answers  for  the  shelf,  which  must  be 
neatly  "sandpapered"  and  painted.  A 
section  of  a  hoop,  or  rather  three  of  them, 
will  answer  for  the  supports,  treated  in 
the  same  manner;  then  nailed  to  the 
Fig.  20.  shelf    and  to  the  back,  which  is  a 

piece  of  thin  board  twenty-four  inches  long  and  as  broad  as  the  length  of  the 
shelf,  in  the  center  sloped  to  a  point,  above  and  below,  in  a  curve.    Cover  this 


96 


HOUSEHOLD  ELEGANCIES. 


back  entirely  with  pieces  of  thin  bark,  with  the  white  silvery  moss  upon  it,  first 
giving  all  the  wood  a  coat  of  black  pepper  or  coal 
dust,  sprinkled  on  with  glue  made  of  the  consis- 
tency of  syrup.  Nail  little  gnarled  pieces  of  root, 
branches  and  twigs,  and  pieces  of  vine,  upon  the 
supports  under  the  shelf,  arranging  them  grace- 
fully, and  piercing  holes  for  the  nails;  in  some 
places  the  pieces  may  be  securely  fastened  by 
tying  with  pliable  wire.    The  pieces  must  not  Fig.  21. 

be  crowded,  but  have  the  appearance  of  a  natural  branch,  around  which  the  vine 
has  twined,  reaching  each  way  and  clinging  to  the  two  side  pieces ;  round  the 
shelf  arrange,  along  the  edge,  the  shell-like  fungus  growth  found  on  the  stumps 
of  old  trees ;  cut  them  off  and  place  singly,  with  a  thin  piece  of  grape-vine  just 

above  to  cover  any  rough  edges.  Arrange 
the  solid  wooden  back  with  these  fungi  and 
pretty  branches,  finishing  the  edge  with  the 
single  pieces  arranged  like  shells  ;  place  a 
cluster  also  at  the  bottom  where  the  three 
arched  supports  join.  Th3se  dark  pieces 
against  the  silvery  foundation  of  bark  gives 
Fig.  22.  a  beautiful  effect.    Varnish  with  D  e  m  a  r 

varnish,  using  a  rather  stiff  brush,  and  merely  touching  the  parts,  as  draw- 
ing the  brush  over  them  would  have  a  tendency  to  drag  the  delicate  pieces 
of  moss  and  bark.  This  frame  must  be  seen  to  be  fully  appreciated,  for  no  one 
from  reading  the  meager  description  here  given,  could  form  an  idea  of  its 
beauty  and  real  elegance.  No  country  girl,  who  loves  pretty  things,  should  be 
without  one. 

CROSS  BEACKET. 

This  bracket  is  suitable  for  holding  a  Bible  or  prayer-book,  and  is  carved  from 
walnut  of  one-fourth  inch  size.  Its  beauty  of  form  is  greatly  enhanced  by  hav- 
ing the  carving  carefully  and  neatly  done ;  the  leaves  rounded  off  neatly,  each 
vein  cut  and  scratched  with  the  sharp  point  of  the  knife ;  and  the  cross  "-picked 
out'''  into  an  indefinite  number  of  tiny  lines  and  indentations,  the  shelf,  also, 
marked  and  cut  in  the  same  manner.  Simple  as  this  design  may  appear,  the 
workmanship  is  so  fine  that  when  finished  it  is  one  of  the  most  exquisite  pieces 
of  wood-carving  we  have  ever  seen.  The  design  is  copied  from  an  imported 
Swiss  bracket. 

'     CROSS  AND  GOTHIC  WINDOW. 

This  is  designed  for  the  same  purpose,  and,  being  heavier,  will  hold  a  larger 
book.    The  design  can  be  seen  from  the  Figure,  and  may  be  accurately  marked 


HOUSEHOLD  ELEGANCIES. 


97 


out  and  enlarged.  The  back  is  about  eighteen  inches  high,  twelve  inches  above 
the  shelf,  which  is  cut  square  and  carved  out  in  ornamental  scallops.  The  back 
similates  a  Gothic  window,  and  the  mullions  and  delicate  frame-work  should  be 
cut  out  very  carefully.    Around  the  deep,  plain  margin  make  a  narrow  beading 


Fig.  23.   Cross  and  Gothic  "Window.  Fig.  24.   Cross  Bracket. 


of  wood,  or  stained  coffee  grains  and  cherry-pits,  arranged  alternately,  upon  the 
outer  edges ;  within  this,  a  row  of  figures,  made  by  heating  an  iron  circle,  key, 
or  other  device,  and  burning  the  wood  slightly.  The  shape  of  the  back,  beneath 
the  shelf,  may  be  seen  from  the  Fig.  23,  and  the  braces  are  carved  out  with  a 
circle  in  the  center,  filled  in  with  ornameiital  work,  corresponding  with  the  back. 

GOTHIC  BEACKET. 

This  bracket,  Fig.  25,  is  intended  to  fasten  against  a  window-frame  for  purpose 
of  holding  vase  or  pot  with  plant.    The  design  is  an  aerial  window  in  three  parts, 
7 


98 


HOUSEHOLD  ELEGANCIES. 


cut  with  Gothic  arches  upon  the  top  of  each,  the  center  one  two  inches  higher 
than  those  at  the  sides.    The  mullions,  or  heavy  division  pieces,  A,  Fig.  26, 

must  be  made  to  appear  massive  by 
having  carved  strips  fastened  on  upon 
the  broad  flat  pieces ;  the  last  one  should 
be  rounded  and  about  as  thick  as  a 
straw.  Button-molds,  stained  with  umber 
and  cut  in  half,  form  a  neat  finish  for 
the  top  and  bottom  (C).  Three  sizes, 
I>laced  upon  each  other,  the  largest 
below,  appear  like  circular  moldings. 
Round  ornaments  are  so  difficult  to  cut 
accurately  that  it  is  really  a  desideratum 
!l  to  find  so  perfect  a  sub-  ^ 
stitute  as  these  molds  af- 
ford. The  lighter  frame- 
w  o  r  k  is  cut  out  in  fine 
tracery,  and  may  be  made 
very  delicate  and  beau- 
tiful by  using  the  knife, 
chisels,  etc.  The  upper 
arched  part  of  the  window 
forms  ornamented-shaped 
openings,  behind  which 
place  various  colored 
stained  glass,  held  in 
place  by  strips  of  wood  or 
strong  cloth  glued  across 
the  ends.  The  lower  part 
of  the  windows  is  made 
by  fastening  long  strips 
of  bright-colored  stained  glass  against  the  three  divisions,  fastening  as  directed, 
and  marking  olf  the  diamond-shaped  panes  with  very  slender  strips  of  wood, 
crossing  each  other  regularly. 

The  shelf  is  cut  with  three  sides  to  fit  in  the  recess,  of  the  stained  glass  window, 
and  has  the  front  corners  rounded  off ;  it  is  supported  by  three  brackets,  which 
run  together  to  a  point,  meeting  the  lower  part  of  the  back,  which  also  ends  in 
in  a  point ;  an  ornament  such  as  an  acorn  carved  from  wood  or  a  fancy  knob 
finishes  the  point.  The  three  points  of  the  window-arches  are  finished  with  an 
ornament  also. 

This  bracket  is  a  novel  one,  and  is  of  such  unusual  beauty  that  it  calls  forth 
praises  and  admiration  from  all  who  see  it.     The  light,  shining  through  the 


Fig.  25.    Gothic  Bracket. 


Fig.  2G. 


HOUSEHOLD  ELEGANCIES. 


99 


stained  glass  gives  a  fine  effect,  especially  if  a  lovely  vine  in  a  tasteful  vase  or 
pot  is  trained  over  the  high  points  and  made  to  fall  over  the  sides. 

A  CRYSTAL  BRACKET. 

As  a  piece  of  ornamental  work,  this  bracket  is,  perhaps,  the  most  chaste  and 
brilliant  of  any  that  has  been  described.  It  consists  of  a  shelf  about  twelve 
inches  long,  and  eight  inches  deep,  of  pine  wood  one-half  inch  thick,  the  cor- 
ners rounded  off  and  covered  with  white  muslin.  The  back  is  made  precisely 
alike,  above  and  below  the  shelf,  and  is  constructed  thus :  take  whalebone  or 
thin  canes,  which  form  into  circular  pieces,  like  little  hoops,  about  two  inches  in 
diameter,  and  others  bend  together  like  a  figure  eight ;  sew  six  of  the  circles 
together,  and  then  add  five  of  the  long  pieces,  which  should  be  six  inches  long ; 
upon  these  sew  four  circles ;  then  three  of  eight ;  then  two  circles,  then  one  cir- 
cle ;  add  the  same  for  the  under  part  of  the  back.  Upon  these  twist  candle-wick, 
covering  every  part  closely,  and  sew  tags  of  coarse  white  twine  or  candle-wick 
upon  every  part,  allowing  them  to  hang  in  little  loops  a  half  inch  in  length. 
Make  a  brace  or  bracket  for  supporting  the  shelf,  of  circles  covered  in  the  same 
manner,  using  first  four,  then  three,  then  two,  finishing 
with  one.  Place  this  frame-work  in  a  strong  solution  of 
alum  until  perfectly  crystallized;  when  fasten  the  shelf 
securely  against  the  back,  and  upon  the  bracket-support, 
by  passing  a  needle,  with  strong  thread  through  the  cot- 
ton cover  of  the  shelf,  and  then  through  the  back,  back 
and  forth,  until  secured.  The  front  edge  of  the  shelf 
should  be  covered  with  crystal  gimp,  and  tassels  of  strung 
crystal  beads,  with  the  same  strung  upon  the  suspension 
Fig.  27,  strings.    The  beads  upon  the  suspension  cords  may  be 

strung  in  double  rows  and  joined  at  every  sixth  bead,  forming  a  chain — those 
lined  with  silver-foil  are  the  most  brilliant.  If  well  crystallized,  this  bracket 
will,  especially  at  night,  sparkle  like  "  frost-diamonds and  with  a  wire  basket, 
crystallized  in  the  same  manner,  filled  with  mosses,  grasses  and  autumn  leaves, 
will  be  found  a  lovely  article  for  parlor  decoration. 


CHAPTER  V. 


PICTURE-FRAMES. 


A  PICTURE  of  great  merit  may  have  its  beauty  enhanced  or  curtailed  by  being 
enclosed  in  an  unsuitable  frame.  Thus  an  oil-painting,  chromo,  or  colored 
engraving  looks  best  with  gilding  about  it,  and  the  brighter  and  more  orna- 
mental the  frame,  so  far  as  consistent  with  the  surroundings,  the  better ;  on  the 
other  hand,  a  crayon,  or  mono-chromatic,  or  an  engraving,  looks  well  in  a  walnut, 
or  walnut  and  gilded  frame ;  while  rustic  pictures  require  a  more  rural  style. 

Again,  f rajnes  should  cor- 
respond with  the  subject 
which  they  surround  (that  is 
t  h  e  home-made  "  class)  ; 
for  instance,  a  sea-view,  have 
a  coral  or  shell  frame;  a 
skating  scene,  a  frosted  one, 
etc.  Therefore,  in  describ- 
ing various  kinds  of  pictures, 
we  have  mentioned  the  sort 
of  frames  most  suitable  for 
them. 

Many  persons  condemn 
the  growing  taste  for  home- 
made adornments,  branding 
them  with  the  epithets  of 
"common,"  "clumsy,"  "un- 
tasteful,"  —  and  even  "vul- 
gar ;  "  but  such  persons  must 
be  of  that  unfortunate  class 
who,  having  seen  mere  rude 
specimens  of  careless,  ill- 
shapen  workmanship,  and 
Fig.  1.  Card-Board  Frame  for  Picture  and  Mats.         emanations  of  minds  void  of 


HOUSEHOLD  ELEGANCIES. 


101 


that  rare  delicacy  which  creates  only  "  a  thing  of  beauty,"  let  its  component 
parts  be  comx30sed  of  what  they  may.  We  will  endeavor  to  show  that  by  proper 
and  tasteful  use  of  even  rude  materials,  artistic  frames  may  be  formed.  In 
making  rustic  frames,  certain  general  principles  must  be  understood,  and  some 
particular  rules  followed :  Thus,  never  mass  together  an  indiscriminate  collec- 
tion of  incongruous  materials,  nor  consider  it  imperative  to  crowd  upon  one 
piece  all  the  various  ornaments  at  hand,  simply  because  you  possess  them.  At- 
tention to  these  two  important  points  will  enhance  the  beauty  and  delicacy  of  a 
picture  to  a  wonderful  degree. 

The  rules  to  be  observed  are:  Before  commencing,  have  all  the  materials 
ready,  and  the  implements  in  good  order.  Let  the  foundation  be  made  firm, 
and  if  there  are  corners,  have  them  securely  joined,  fastening  with  glue.  The 
different  strips  may  be  carved  or  cut,  if  desired,  and  made  very  ornamental. 
When  finished,  oil,  or  varnish  with  Copal.  This  is  an  unusually  beautiful  frame, 
and  appropriate  for  rustic  cross,  the  picture  of  "  Faith,"  or  the  numerous  crosses 
in  chromos  or  paintings ;  or  for  sacred  pictures,  such  as  "  Ecce  Homo,"  "  The 
Good  Shepherd,"  "  The  Light  of  the  World,"  etc.,  they  are  especially  suited. 

Fig  2  is  made  by  carving 
out  the  foundation-frame  in 
imitation  of  a  trellis ;  cut- 
ting two  long,  slender  pieces 
for  each  side,  and  the  same 
for  top  and  bottom,  cross- 
ing the  corners,  which  bind 
with  strips  or  shavings  of 
the  walnut,  crossed  over,  as 
if  tied ;  allowing  a  space  be- 
tween each  two  of  the  long 
strips,  upon  which  fasten 
short  strips  across  horizon- 
tally, from  top  to  bottom, 
and  across  upon  the  ends. 
This  forms  the  trellis,  which 
may  be  varied  in  style,  if  de- 
sired. Upon  this  fasten  a 
vine,  with  clusters  of  leaves 
and  flowers,  berries  or  fruit, 
as  may  be  preferred;  carv- 
ing the  leaves  carefully  from 
one-eighth  inch  wood,  cut- 
ting the  veins  and  markings 
with  the  point  of  a  sharp 


Fig.  2. 


102 


HOUSEHOLD  ELEGANCIES. 


knife.    The  fruit,  nuts  or  flowers,  require  heavier  stuif.  These  frames  are 

graceful  and  pretty,  and  appropriate  for  fruit  and  flower  pieces,  or  any  rui'al 
scene. 

EUSTIC  FEAMES. 

There  is  no  class  of  ornamental  work  which  requires  so  much  neatness  and 
care  as  that  of  rustic  work,  inasmuch  from  the  abundance  of  material  and 
readiness  of  accumulating  the  treasure,  the  tendency  is  to  overcrowd.  In  fancy 
work,  as  in  dress,  overabundance  of  ornamentation  not  only  spoils  the  fine 
effect,  but  hides  the  more  delicate  parts  and  looks  clumsy  and  overdone. 
As  a  general  rule,  dark  colors  are  the  most  elegant ;  black,  the  various  shades  of 
brown,  and  if  light  hues  are  admirable,  they  should  be  the  light  shades  of 
sienna;  or  Bismarck  and  bulf,  and  these  sometimes  afford  pretty  contrasts. 
When  the  bark  is  retained,  and  is  mossy,  no  varnish  should  be  used ;  in  using 
materials  such  as  nuts,  seeds,  etc.,  confine  yom-self  to  only  one  or  two  varieties, 
as  a  mixture  mars  the  effect. 

NUT-FEAME  IN  IMITATION  OF  WOOD-CAEVING. 
(EOSE-WOOD.) 

Make  a  foundation  of  pine  wood,  either  oval  or  square,  stain  with  a  decoction 
of  Venetian  red  and  vinegar ;  when  dry,  rub  smooth  with  emery-paper,  and  var- 
nish with  Japan  varnish.  Cut  leaves  from  thick  sheepskin,  of  kind  to  corre- 
spond with  the  nuts  to  be  used;  of  which  none  can  surpass  the  English  walnut, 
Brazil,  or  pecan  nut.  Buckeye  and  filbert.  Moisten  the  leather  in  clear,  cold 
water,  and  mold  on  the  leaf -mold,  used  as  a  cutter ;  when  veined  and 
shaped,  paint  with  the  decoction  of  Venetian  red,  and  dry  in  the  sun  or  oven ; 
pass  the  nuts  through  the  dye,  and  dip  both  leaves  and  nuts  in  Japan  varnish ; 
when  dry,  arrange  in  tasteful  groups  upon  the  top,  bottom  and  sides  of  an  oval, 
or  on  the  corners  of  a  square  frame.  Make  the  clusters  thick,  and  broad  in  the 
center,  using  the  largest  leaves  and  nuts,  and  running  to  a  delicate  spray  at  the 
ends.    This  frame  looks  well  in  a  dining-room,  on  pictures  of  fruit  or  birds. 

VINE-FEAME. 

Take  four  pieces  of  grape-vine,  of  length  that  will  pass  around  an  oval  dish  of 
suitable  size,  and  coil  them  in  a  boiler  of  hot  water,  boiling  or  soaking  them 
until  pliable,  when  remove,  and  fasten  around  the  dish ;  securing  the  ends  by 
tying,  and  twining  wire  around  the  different  strips,  in  three  or  four  places,  to 
hold  in  proper  position.  Cut  a  number  of  vine-leaves  from  leather,  using  the 
cutters  or  molds,  sold  for  wax-flowers.  Make  grapes  by  tying  small  marbles 
in  chamois-skin,  or  old  kid  glove,  fastening  a  piece  of  leather-colored  vine  in  each 
one.    Paint  these,  the  leaves  and  frame  of  light  brown.    Place  a  large,  full  clus- 


HOUSEHOLD  ELEGANCIES. 


103 


tsr  at  the  top,  and  make  a  vine  to  twine  in  and  out,  among  the  bars  of  the 
foundation,  arranging  the  leaves  and  fruit  in  tasteful  groups.  When  done, 
varnish  with  Copal. 

The  grape-vine  picture-frame  here  illustrated  in  Fig.  3,  is  constructed  as  fol- 
lows :  Cut  off  four  pieces  of  wild  grape-vine,  or  cultivated,  if  you  can  get  it, 
each  three,  four,  or  five  feet  long,  according  to  the  desired  size  of  the  frame. 

They  can  be  cut  in  the 
Winter  or  Spring  better 
than  at  any  other  time, 
as  the  absence  of  leaves 
will  allow  you  to  find 
what  you  want.  Strip 
the  loose  bark  from  the 
vines,  but  leave  on  as 
many  little  twigs  and 
tendrils  as  possible. 
Then  coil  the  four 
lengths  in  a  vessel  of 
hot  water,  and  leave 
them  until  they  are  per- 
fectly pliable.  They 
must  then  be  placed  to- 
gether and  arranged 
around  an  oval  mold. 
A  soujvtureen,  or  a  large 
vegetable  dish,  turned 
upside-down,  will  make 
a  capital  mold,  for  the 
frame  will  slip  off  easily 
when  it  is  dry.  The 
vines  must  be  tied  to- 
gether at  the  bottom 
with  a  piece  of  vine 
and  all  the  tendrils  and 
Fig.  3.  Grape-Yine  Picture-Frame.  twigs  arranged  as  artis- 

tically as  possible  on  the  outside  of  the  frame.  Those  which  will  i:)roject  on  the 
inside  must  be  clipped  off.  Weights  should  then  be  placed  on  it,  to  keep  it 
down  upon  the  mold,  and  it  should  be  left  to  dry.  When  all  parts  of  it  are  stiff 
and  hard,  it  may  be  taken  from  the  mold,  and  a  walnut  "  mat,"  or  a  piece  of 
Bristol-board  or  fancy  pasteboard,  with  a  suitable  oval  opening,  must  be  fixed 
to  the  back  by  small  tacks.  Then,  a  piece  of  glass,  which  may  be  rectangular, 
if  it  is  a  little  longer  and  wider  than  the  oval 'opening  in  the  pasteboard,  must 


104 


HOUSEHOLD  ELEGANCIES. 


be  fastened  behind  that,  and  with  a  thin  piece  of  board  or  a  thick  piece  of 
pasteboard  for  a  back.    Varnishing  will  generally  improve  its  appearance. 

SHELL-EJRAME. 

Make  a  pine  foundation,  which  cover  with  the  composition  of  beeswax,  rosin 
and  tallow,  described  in  Shell- Work ;  place  large  shells  at  the  corners,  grouping 
them  in  clusters,  diminishing  towards  the  center  of  sides  and  ends.  Put  only  a 
small  23ortion  of  the  cement  on  at  a  time,  and  press  the  shells  upon  it  while 
warm ;  fill  in  with  tiny  rice  and  pearl  shells,  and  arrange  a  few  sprays  of  coral 
among  them,  made  by  dipping  raisin-stems  in  scarlet  sealing-wax,  dissolved  in 
boiling  alcohol.  Varnish,  or  not,  as  preferred.  Demar  varnish  is  the  proper 
kind,  if  used.  This  frame  looks  well  on  sea-views,  or  in  a  dining-room,  on  pic- 
tures of  fish,  etc. 

CORAL-FEAME. 

Make  the  foundation  for  this  frame  by  sewing  strips  of  covered  wire  or  hoop- 
skirt  springs  together,  either  in  square  or  oval  form,  holding  the  pieces  apart  by 
small  strips  between.  Cover  the  entire  skeleton  with  strands  of  coarse  crochet- 
cotton,  about  two  inches  long,  sewed  quite  closely  together.  Make  a  mixture  of 
two  parts  white  cake-wax,  one  part  rosin,  and  sufficient  lamp-black,  vermilion, 
carmine,  or  flake-white  to  give  the  desired  tint  of  black,  scarlet,  cherry  color  or 
white.  If  preferred,  the  proper  size  and  consistence  may  be  given  to  the  tags 
of  cotton  by  dipping  them  into  a  paste  made  of  flour  and  glue  boiled  until  of  the 
consistency  of  thick  starch ;  then,  after  twisting  into  shape,  varnishing  with  red 
sealing-wax,  flake-white,  drop-black,  or  carmine  in  spirits  of  wine,  giving  several 
coats  to  the  stiff  sprays.  Having  the  preparation  of  wax,  etc.,  melted  in  a  bak- 
ing-pan, a  portion  of  the  frame  must  be  dipped ;  and  when  a  little  cool  dipped 
again,  a  second  and  third  time  ;  and  finally  twisted  and  bent  into  fantastic 
shapes,  like  stilf  coral  sprays,  going  over  the  entire  frame  until  the  whole  is  made 
of  j)roper  shape  and  proportion.  Sufficient  wax  must  be  melted  to  dip  the  arti- 
cle into,  though  towards  the  last  of  the  operation  it  will  be  necessary  to  hold  the 
frame,  with  the  strands  downward,  and  pour  the  wax  over  with  a  spoon.  Black 
coral,  made  in  this  way,  is  beautiful,  and  the  crimson  and  light  cherry  shades 
are  scarcely  to  be  distinguished  from  the  natural  sprays.  Frames  thus  formed 
are  also  suitable  for  the  same  class  of  pictures  as  those  made  with  shells. 

STEAW  PICTUEE-EEAME. 

Pick  out  from  a  bundle  of  straws  those  without  flaws.  It  takes  five  for  each 
part  of  the  frame.  Arrange  them  thus :  Put  one  long  straw  in  the  center,  a 
shorter  one  on  each  side,  and  a  shorter  again  on  each  side  of  these ;  sew  them 
together  at  the  back  with  some  strong  cotton.  When  you  have  the  top,  bottom, 
and  sides  ready,  fasten  them  together  at  the  corners  in  the  form  of  an  Oxford 


HOUSEHOLD  ELEGANCIES. 


105 


frame,  placing  the  top  and  bottom  ones  in  front  of  the  sides.  Then  make 
fom-  small  pieces  of  three  straws  in  each,  the  center  one  the  longest,  and  fasten 
them  crosswise  to  each  corner  by  means  of  a  piece  of  ribbon  tied  round ;  the 


Fig.  4.  Fancy  Straw-Frame, 
ribbon  is  to  hide  where  the  parts  of  the  frame  are  joined  together.  The  picture 
is  fastened  in  with  narrow  ribbon,  crossed  over  at  the  back,  and  brought  through 
between  the  straws  on  each  side  of  the  frame,  then  passed  over  the  center  straw 
through  to  the  back,  and  firmly  sewn ;  this  ribbon  has  a  very  pretty  effect.  The 
frame  is  supported  by  three  straws,  which  should  be  sewn  to  the  back  of  the 
top ;  the  straws  should  be  bound  at  the  bottom  with  ribbon  to  keep  them  firmly 
together.  If  the  frame  is  to  be  hung  up,  a  loop  of  ribbon  should  be  sewn  upon 
the  top. 

TO  EENOVATE  OLD  PICTURE-FEAMES. 

An  old  frame  may  be  "  rejuvenated  "  in  several  ways,  and  frequently  present 
a  better  appearance  than  the  newer  and  more  expensive  ones  surrounding  it. 
Take  such  an  old  frame  and  cover  with  white  candle-wick  wound  closely  round 
it ;  then  dissolve  a  quantity  of  alum  in  boiling  water,  making  a  saturated  so- 
lution, and  making  sufficient  to  cover  the  front  of  the  frame  entirely,  when  it  is 


106 


HOUSEHOLD  ELEGANCIES. 


immersed  in  it.  Immerse  the  frame  in  this,  and  allow  it  to  remain  in  it  until 
the  wick  has  absorbed  all  the  alum-water  it  will  take  np ;  when  remove  and 
dry,  and  it  will  be  found  beautifully  crystallized.  Procure  a  quantity  of  raisin- 
stems,  bits  of  rough  bark,  small  twigs,  etc.,  which  also  place  in  the  alum  until 
crystallized.  When  all  are  dry,  arrange  the  sprays  upon  the  frame  and  fasten 
with  white  glue.  Allow  some  drooping  pieces  to  fall  over  the  edges,  like  icicles ; 
and  dry  some  threads,  saturated  in  alum-water,  before  a  hot  fire,  which  will 
appear  like  crusted  snow,  and  prove  a  beautiful  addition  when  hung  among  the 
icicles  and  sprays  of  icy  moss  and  branches.  This  frame,  placed  around  a  win- 
ter scene,  of  any  description,  will  be  found  an  appropriate  and  elegant  surround- . 
ing,  appearing  like  snow  and  ice  upon  branches  and  bark  of  trees. 

PUTTY-FEAMES. 

Lest  some  of  our  readers  should  not  understand  the  modus  operandi  of  making 
these  now  popular  frames,  we  will  give  the  full  directions : 

Take  from  two  to  seven  pounds  of  putty,  made  perfectly  smooth,  using  more 
or  less,  according  to  the  size  of  frame,  and  add  Spanish  brown  or  burnt  umber 
as  will  impart  the  right  color,  working  it  in  until  no  specks  or  streaks  can  be 
seen.  Work  this  into  appropriate  designs  or  figures  with  the  fingers,  and  lay 
them  on  the  frame  ;  grapes,  leaves  and  scrolls  are  used  more  than  other  figures, 
with  bead-work  upon  the  edges. 

Logwood  dye,  with  saleratus  added,  forms  a  rich  color,  washing  the  work  with 
it  in  order  to  prevent  them  from  separating  by  warping.  Us€  varnish,  carefully 
making  it  sufficiently  thin  to  "  flow  "  and  not  '*  drag  "  under  the  brush  ;  for  flat, 
broad  surfaces,  the  common  flat  varnish  brush  is  best,  but  the  round  one  will  be 
required  for  rough  surfaces.  Fasten  the  glass  in  securely  before  commencing  to 
put  the  ornaments  on  the  foundation.  For  securing  various  ornaments  on  card- 
board, glue  is  the  best  article,  but  as  it  will  not  adhere  to  wood  or  metal,  it  is  nec- 
essary when  the  foundation  is  made  of  these,  to  cover  first  with  cement.  When 
large  ornaments  are  fastened  on  with  brad-nails,  small  holes  should  be  pierced 
through  the  ornament,  and  partially  through  the  frame,  to  prevent  their  split- 
ting. For  leather  leaves  and  flowers  the  sharp-pointed  upholsterers'  tacks,  with 
round  heads,  are  very  appropriate.  Various  materials  are  used  as  ground-work 
where  the  ornaments  do  not  cover  the  foundation ;  for  this  purpose,  rice,  sago, 
sand,  small  seed-shells,  black  pepper,  powder,  and  coal  crushed  fine,  will  be  found 
suitable.  For  delicate  work,  white  glue  is  best,  but  the  dark-colored  will  an- 
swer for  any  ordinary  work ;  whichever  kind  is  used,  however,  use  care  in  not 
applying  it  too  thickly,  and  keep  it  constantly  hot.  When  a  large  "  piece  "  is  to 
be  accomplished,  it  will  be  found  very  satisfactory  to  use  a  regular  "  glue-pot," 
hung  in  a  vessel  of  hot  water.  Always  have  a  brush  in  each  pot,  or  perhaps  two, 
a  large  and  small  sized  one ;  the  kind  used  by  house-painters  for  window-sash 
are  best. 


HOUSEHOLD  ELEGANCIES. 


107 


CAT-TAIL  PICTURE-FKAMES. 

A  very  pretty  frame  for  an  engraving  may  be  made  of  the  long,  tough  stem  of 
the  common  cat-tail,  to  be  found  growing  in  profusion  by  streams  and  in  marshy 
places.  The  cat-tails,  after  being  dried,  should  be  arranged  as  seen  in  our  illus- 
tration. The  joinings  at  the  corners  may  be  ornamented  with  small  pine  cones, 
or  simply  bound  with  grape-vine  bark.  The  vine-work  shown  in  the  illustra- 
tion is  made  of  leather-work,  directions  for  w^hich  are  given  in  other  pages. 
The  leather  and  cones  are  of  a  uniform  color  when  varnished.  The  frame  of 
the  picture  may  either  be  left  open  so  as  to  show  the  wall  behind  it,  or  it  may 
be  formed  upon  a  thin  board  with  a  border  of  maroon  or  crimson  velveteen 
showing  through.    In  using  a  board-back,  the  picture,  which  should  be  smaller 


Fig.  5.  Cat-Tail  and  Leather  Frame, 
than  the  board  should  be  first  laid  upon  it ;  over  that  a  paper  spandrel,  to  be 
purchased  at  any  photograph  gallery  ;  and  over  that  the  glass.  The  whole  may 
then  be  secured  in  place  by  means  of  thin  strips  of  wood  so  placed  and  fas- 
tened that  they  shall  form  the  frame.  Velvet  or  velveteen  should  be  glued  over 
this  border,  neatly  covering  the  edge  and  folding  at  least  half  an  inch  over  the 
back ;  and  the  cat-tails  may  be  arranged  over  this,  allowing  them  to  project  at 
the  corners,  as  seen  in  the  engraving. 

GILT  FRAME. 

Make  or  obtain  from  a  manufactory  r.n  oval  or  square  frame.  Having  a 
quantity  of  plain  and  fancy  gilt  paper,  cut  the  pieces  of  suitable  sizes  to  cover 
the  frame.  Should  the  frame  be  large  and  the  sheets  of  paper  comparatively 
small,  use  great  care  in  joining  the  pieces ;  and  in  case  of  their  showing,  en- 
deavor to  cover  them  with  the  ornaments.    These  may  be  made  of  various  styles 


108 


EOUSEHOLD  ELEGANCIES. 


and  materials,  neatly  covered  with  the  gilt  paper  or  with  gold-foil,  liquid  gold 
paint,  or  in  shells.  A  very  handsome  frame  is  made  as  follows  (the  one  used  as 
the  model  was  a  square,  18  x  24  inches  and  four  inches  wide)  :  A  flat  edge  runs 
around  the  outside ;  upon  this  a  preparation  of  two  parts  white  wax,  one  of 
glue,  and  a  little  rosin  is  sjjread ;  on  M'hich  is  arranged  a  beading  of  large, 
brown  coffee  grains,  placed  closely  together,  and  when  dry,  varnished  with  Copal. 
Next  to  this  beading,  fasten  a  grooved  molding,  such  as  is  used  for  window  or 
door  facings,  which  cover  wdth  plain  gilt  paper,  as  also  the  two  and  a  half  inches 
of  flat  surface  still  remaining  within,  but  ornament  it  thus  :  leaving  a  narrow 
line  next  the  strip  of  molding,  fasten  on  with  size  a  strip  of  richly-enameled 
gold  paper,  about  half  an  inch  wide ;  then  a  double  row  of  brown,  varnished 
coffee  grains ;  then  a  strip  of  figured  gilt  paper ;  then  another  narrow  strip  of 
molding  covered  with  plain  gilt  paper ;  finishing  with  a  double  beading  of  the 
coffee  grains,  arranged  as  before,  and  a  narrow  margin  of  gilt.  The  sheets  of 
gilt  paper  being  much  smaller  than  the  frame,  it  will  require  two  or  three 
of  them  to  cover  it ;  when,  if  the  connections  show,  arrange  the  paper  in  such  a 
manner  that  all  the  connections  commence  in  one  place,  which  hide  by  making 
walnut  and  gilt  ornaments,  and  arranging  to  fall  gracefully  over  them,  thus : 
cover  wire  with  the  gilt  paper,  to  which  fasten  vine-leaves  of  three  or  four  sizes, 
cut  out  of  sheep-skin,  and  either  covered  with  the  paper  or  painted  with  gold-size ; 
and  when  so  dry  that  it  will  stick  to  the  finger,  lay  on  the  gold-leaf  or  gold- 
bronze,  pressing  it  gently  and  carefully  with  a  soft  cloth.  Make  a  bunch  of 
grapes  by  tying  small  marbles  in  chamois-skin ;  then  varnish  with  Japanese 
varnish.  Make  clusters  to  correspond  for  each  corner ;  varnish  with  clear,  thin, 
"  finishing  varnish."  Such  frames  are  exceedingly  handsome,  and  suitable  for 
paintings,  chromos  or  fine  engravings,  or  for  mono-chromatic  or  pastile  pieces. 

EUSTIC  FRAME  IN"  IMITATION  OF  EICH  WALNUT. 

The  foundation  for  this  frame  may  be  of  pine  wood,  and  should  be  covered 
with  a  coating  of  some  one  of  the  materials  mentioned  as  "  adherents,"  also 
stain  it  with  umber  scalded  in  vinegar,  and  rub  gently  with  flannel.  Prepare 
a  number  of  leather  leaves,  by  obtaining  leaf-molds  of  hickory-nut,  oak  and 
chestnut,  and  cutting  from  slieep-skin  which  has  been  made  damp ;  stain  with 
a  decoction  of  burnt  umber,  and  after  shaping  and  veining  upon  the  molds, 
dry  in  the  oven ;  then  dip  in  Japan  varnish.  Obtain  a  quantity  of  English 
walnuts,  pecans  and  acorns,  or  chestnuts,  hickory-nuts,  etc.,  which  also  dip  in  the 
varnish ;  make  a  pretty  beading  around  the  edge  of  the  frame  with  the  halves 
of  filberts  and  cherry-stones,  arranged  in  rows,  and  varnished.  Cluster  the  nuts 
and  their  respective  leaves  in  graceful  groups,  not  crowding,  and  yet  sufficiently 
close  to  appear  rich  and  heavy.  The  leaves  may  be  fastened  to  stems  of  wire 
covered  with  soft  leather,  and .  arranged  on  natural  branches  that  have  been 
stripped  af  bark  and  Tarnished.    The  acorns  should  have  the  nut  formed  of 


HOUSEHOLD  ELEGANCIES. 


109 


putty,  colored  with  umber,  and  glued  into  the  cups.  In  order  to  make  the  frame 
look  rounded  and  full,  putty,  or  the  composition  of  wax,  etc.,  may  be  built  upon 
the  center  and  rounded  off  towards  the  edges ;  then,  when  dry,  covered  with  the 
adherent  (black  pepper  or  coal-dust)  sprinkled  on  glue.  The  clusters  arranged 
upon  such  a  foundation  will  appear  full  in  the  center,  instead  of  flat.  This  style 
of  frame  is  suitable  for  rustic  pictures,  crayons,  lithographs,  etc. ;  a  gilt  molding 
should  always  be  placed  around  the  inner  edge  of  all  frames,  and  may  be  easily 
made  by  covering  a  strip  of  card  or  thin  board  with  plain^ilt  paper. 

PICTURE-FRAME  IK  LEATHER-WORK. 


Picture-frame  with  decoration  of  ivy  leaves,  Fig.  6.    Materials:  a  piece  of 


Fig.  6. 


110 


HOUSEHOLD  ELEGANCIES. 


thin,  tanned  sheep-skin,  very  fine  flower-wire,  a  frame  of  thin  slats  of  wood  four- 
fifths  of  an  inch  wide,  pincers,  thick  gum,  Copal  varnish,  batting. 

This  frame  imitates  a  tree-trunk  grown  over  with  ivy.  A  thin,  wood  frame 
seven  and  one-fifth  inches  high,  and  six  and  two-fifths  inches  wide  constitutes 
the  foundation ;  the  frame  is  covered  with  a  layer  of  batting,  pasted  on.  To  fit 
this  frame,  cut  another  of  leather,  taking  care  to  add  as  much  as  the  slight 
rounding  given  by  the  batting  requires,  and  a  little  to  lap  over  to  the  back  of 
the  frame.  To  give^the  leather  the  appearance  of  bark,  moisten  it  and  run 
along  it,  lengthwise,  with  the  pincers;  the  rounding  of  the  stems  is  likewise 
effected  by  smartly  running  the  pincers  along  the  middle  of  the  moist  leather. 
Four  branches,  whose  stems  are  quite  pliant,  are  fastened  each  to  a  corner  of 
the  frame.  Eight  smaller  branches,  cut  exactly  like  the  large  ones,  with  the 
exception  of  the  two  biggest  leaves,  complete  the  decoration.  The  ivy  branches 
are  tacked  to  the  frame  by  means  of  exceedingly  fine  wire-stems  attached  to  the 
middle  of  each  leaf,  and  passed  through  small  holes  bored  for  that  purpose  into 
the  leather-frame ;  these  give  the  leaves  a  raised  appearance.  The  small  crosses 
in  the  ivy-leaves,  designate  the  spots  where  the  wire-stems  are  to  be  attached. 
When  the  branches  have  been  gracefully  fastened  in  the  manner  above  described, 
paste  the  leather-frame  to  the  wood  covered  with  batting.  The  number  of  coats 
of  Copal  varnish  must  be  decided  according  to  the  lighter  or  darker  color  desired 
that  the  frame  should  attain. 

SQUARE  CARVED  WALNUT  FRAMES,  14  x  18  INCHES. 

These  may  be  formed  in  various 
styles,  and  can  be  made  very  elegant 
by  skillfully  using  the  saws,  made 
especially  for  such  purposes.  A  good 
style  of  carved  frame  is  made  by 
sawing  an  ornamental  strip  half  an 
inch  deep,  to  pass  around  beyond  the 
gilt  margin  A.  An  open  pattern, 
marked  out  upon  it,  is  sawed  out  upon 
the  edge,  and  cut  out  in  mosaic  figures 
through  the  center  B  (a  strip  of  gold 
paper  laid  under  this  gives  a  beautiful 
appearance) ;  upon  this  a  thick,  nar- 
row strip  is  placed,  cut  with  two 
beveled  edges,  forming  a  ridge;  be- 
yond this  a  strip  one-fourth  inch  thick, 
and  two  inches  deep,  is  placed  with 
the  edge  out,  which  shows  the  margin 
back,  in  a  recess,  as  it  were;  these 


HOUSEHOLD  ELEGANCIES. 


Ill 


strips  must  be  cut  out  in  ornamental  pattern  through  the  center,  and  upon  the 
edge  a  beaded  strip  should  be  fastened,  while  across  the  corners,  clusters  of 
leaves  and  scrolls  are  placed,  carved 
of  walnut.  The  edge  without  is 
finished  with  strips  of  carved  bead- 
work,  and  the  whole  oiled  or  var- 
nished. 

FOP-COEN  PICTUEE- 
FRAME. 

Have  a  little  frame  made  of  thin 
wood,  the  shape  of  the  pattern,  or  if 
not  that,  take  strong  pasteboard; 
then  with  white  glue,  fasten  a  border 
of  cherry-stones  on  the  outer  and 
inner  edge.  In  each  of  the  eight 
corners  put  an  apricot-stone  or  a 
hazel-nut,  and  then  place  plum-stones 
as  shown  in  the  picture ;  lastly,  fill 
the  spaces  that  are  left  with  red  pop- 
corn. It  might  be  better  to  varnish  rig.  8.  Pop-Corn  Picture-frame, 
the  stones  and  nuts  before  putting  on  the  corn. 

FRAME  OF  BEANS  AND  CORN. 


Fig.  9.   Frame  of  Beans  and  Corn. 
Make  your  frame  of  good,  smooth  pine  wood,  of  any  size  to  suit  the  picture  to 
be  framed ;  paint  it  a  good  black.    Select  good,  clear,  even-sized  kernels  of  corn 


112 


HOUSEHOLD  ELEGANCIES. 


for  the  rosettes,  making  the  center  of  a  small  acorn.  Ornament  the  frame  with 
white  beans  split  in  two,  in  the  form  of  diamonds,  with  an  acorn  between  each 
diamond.  Any  other  pattern  will  do,  to  suit  the  taste  of  the  maker.  Paint  the 
whole  black  and  then  varnish.  This  is  easily  made,  and  makes  a  very  neat 
frame. 

CAEVED  FEAMES. 

Another  carved  frame  is  made  of  fom-  long,  square  pieces,  cut  in  grooves  with 
the  penknife,  each  of  the  eight  ends  made  to  taper  gradually  from  the  center. 
These  carved  sides  may  be  made  exceedingly  handsome,  by  having  used  the 
knife  skillfully,  and  cutting  innumerable  small  grooves  lengthwise,  then  fill- 
ing in  with  fine  work  called  "  picking  out,"  done  with  the  point  of  the  knife. 
Cut  a  pair  of  large  leaves  and  a  flower,  for  the  center  of  the  top  and  bottom, 
and  notch  out  sockets  for  the  admission  of  the  side-pieces  upon  the  four  ends, 
about  an  inch  and  a  half  or  two  inches  from  the  end ;  making  them  to  cross 
each  other,  and  project  at  the  corners.  At  the  point  of  intersection,  place  an 
ornament  cut  from  the  wood,  a  star|  or  round  flower,  or  a  button ;  make  the 
margin  as  usual. 

Another,  pretty  mode  is  to  or- 
nament upon  the  corners  instead 
of  the  centers ;  a  group  of  carved 
leaves  and  natural  nuts  var- 
nis-hed,  or  a  combination  of 
leather  leaves,  acorns,  and  a  gnarl- 
ed branch  on  the  corners  or  at  the 
top  and  bottom,  or  three  carved 
leaves  on  each  corner,  are  all 
pretty  modes  of  adorning.  An 
unusually  tasteful  frame  is  made 
in  the  Gothic  style ;  making  a 
margin  of  gilt  and  walnut,  then 
cutting  six  pieces  for  the  sides, 
four  twenty-two  inches  and  two 
twenty-four  inches  long ;  the  top 
and  bottom,  four  twenty  inches, 
two  twenty-two  inches  long,  and 
all  of  them  one -half  inch  wide 
(of  one-fourth  inch  wood),  mor-  Fig.  lo. 

ticed  together  at  the  corners,  and  projecting, — the  short  ones  outside  one  inch, 
the  center  ones  tw^o  inches.  Cut  or  saw,  also,  tw^elve  pieces  three  inches  in 
length,  pointing  the  ends,  both  of  these  and  the  main  pieces ;  also,  six  pieces 
— the  first  pair  four  inches  long,  the  second  six,  the  third  eight ;  cut,  also,  six 


HOUSEHOLD  ELEGANCIES. 


113 


small  strips  two  inches  long;  the  twelve  pieces  are  to  be  crossed  one  over  an- 
other in  six  pairs,  three  on  each  side ;  the  six  pieces  in  graduated  pairs,  must 
be  arranged  upon  the  top ;  the  small  ones  crossed  at  the  top,  and  placed  low 
down  upon  the  top  rails  of  the  frame ;  the  second  in  front,  arranged  in  the  same 
way ;  the  third  in  front,  crossed  over  above  the  other  two  pairs ;  carve  an  orna- 
mental cross  and  place  upon  the  apex  of  the  arch ;  arrange  the  three  small  pieces 
along  the  bottom  in  three  crosses.  Fasten  all  pieces  together  with  little  black 
buttons,  making  holes  for  the  eyes. 

FEAME  OF  CONES. 

Cut  the  frame  from  bookbinders'  pasteboard.  Select  good,  clear,  hard  pine  cones. 
Dissect  *those  which  have  large,  fair  scales,  and  sew  a  double  row  of  the  scales 
round  the  inside  and  outside  of  the  frame.  Make  rosettes  as  in  the  pattern  of 
the  scales  of  soft  pine  cones,  with  a  small  acorn  for  center ;  the  leaves  at  the 


Fig,  11.   Frame  of  Cones. 


corner  of  frame  to  be  made  of  soft  pine  scales,  with  a  small  cone  or  acorn  for 
center.  Fill  up  the  entire  ground-work  with  hard  pine  scales,  fastened  with 
glue ;  lapping  one  neatly  over  the  other,  then  varnish. 

FRAME  OF  EICE  OR  PEARL  BARLEY. 

Make  your  frame  as  in  Fig.  9.  Melt  sealing-wax  of  the  desired  color  (red  is 
to  be  preferred  as  it  resembles  coral)  in  first-proof  alcohol.  Spread  thickly  over 
frame.  Stir  rice,  sago,  and  small  bits  of  tapioca  into  the  vessel  of  dissolved  seal- 
ing-wax ;  spread  the  same  over  the  frame ;  dry  thoroughly.    Pearl  barley  can  be 


114 


HOUSEHOLD  ELEGANCIES. 


used  the  same  way.  If  not  entirely  covered,  touch  with  red  paint.  Card  re- 
ceivers or  baskets  are  very  handsome,  made  this  way. 


Fig.  12.   Frame  of  Rice  or  Pearl  Barley. 

ERAME  OF  BEAKS  AND  RICE. 


Fig.  13.   Frame  of  Beans  and  Rice. 


The  frame  to  be  made  of  wood,  plain,  and  painted,  as  in  Fig.  9.  Rosettes  in 
the  corners,  of  beans  ;  in  the  centers,  of  corn.  Glue  a  double  row  of  split  beans 
on  the  inner  and  outer  sides  of  the  frame,  or  more  rows  if  the  size  of  the  frame 
requires  it.  Cover  the  open  space  with  hot  glue,  upon  which  sprinkle  rice 
enough  to  cover  it  thoroughly.  Paint  the  beans  black  and  the  rice  red,  or  any 
other  colors  that  the  fancy  may  dictate.    Varnish  with  pure  white  varnish. 


HOUSEHOLD  ELEGANCIES. 
FRAME  OF  CONES. 


115 


Fig.  14.   Frame  of  Coiies. 
To  be  made  as  in  Figs.  14  or  15,  as  regards  the  cones,  rosettes  and  scales,  but 
can  be  ornamented  with  small  cones,  acorns,  seeds  or  anything  pretty  to  suit  the 
taste  of  the  maker.    We  can  not  give  the  dimensions  of  any  of  these  frames,  as 
they  will  depend  entirely  upon  the  size  of  the  picture  to  be  framed. 

The  glass  and  picture  should  be  secured  by 
strips  of  cloth  pasted  over  the  edges  to  hold 
them  firm.  Then  cover  the  entire  back  with 
cloth  or  paper,  taking  care  that  none  of  the 
paste  touch  the  picture,  so  as  to  soak  through. 
This  will  keep  glass  and  picture  perfectly 
firm  in  its  place. 

FRAMES  OF  CONES. 


Cut  the  frame  of  heavy  pasteboard  (if 
this  is  not  handy,  pasteboard  boxes,  such 
as  can  be  obtained  at  any  store  will  do). 
The  center  of  each  scallop  in  these  patterns 
to  consist  of  soft  pine  scale  rosettes,  the 
centers  td  be  acorns  or  hard  pine  cones,  cut 
off  at  the  base  to  make  them  the  required 
size.  Sew  at  least  two  rows  on  the  outer  and 
inner  edge.  This  makes  the  frame  stronger 
and  more  durable.  Fill  up  the  ground-work 
as  stated  in  Fior.  11,  and  varnish. 


Fig.  15.   Frame  of  Cones. 


116  HOUSEHOLD  ELEGANCIES. 

Some  place  an  even  coating  of  putty  all  over  the  frame  and  insert  the  scales 
into  it ;  but  it  is  not  as  good  as  the  sewiiig  and  glue. 


Fig.  16.   Frame  of  Cones. 


CHAPTER  VI. 


FANCY  LEATHER-WORK. 


Leather-Work,  as  applied  to  the  ornamentation  of  furniture  or  lighter  ele- 
gancies, is  not,  as  generally  supposed,  of  recent  invention. 

So  far  from  this,  it  is  one  of  the  most  ancient 
modes  of  fine  decoration,  and  those  who  have 
visited  the  British  Museum,  that  great  storehouse 
of  antiquities,  will  have  noticed  the  specimens  of 
richly-embossed  leather  in  the  room  of  Egyptian 
specimens,  which  are  said  to  have  been  made  900  B. 
C.  Over  the  door  is  also  an  ornamental  cross,  which 
is  of  great  interest  and  of  fine  workmanship,  taken 
from  the  robes  of  a  Coptic  priest,  in  the  year  of  our 
Saviour,  640.  Then,  at  a  later  date,  during  the 
early  part  17th  century,  this  work  became  popular 
in  England  as  a  means  of  decorating  curtains, 
testers,  and  other  hangings,  and  was  carried  to  a 
high  state  of  perfection.  Of  late  days  it  has  been 
chiefly  applied  as  an  imitation  of  various  kinds  of 
wood ;  and  where  lightness  and  graceful  cofiibina- 
tions  of  fine  tracery  or  thread-like  finishing  upon* 
Fig.  1.  A  Parlor  Lectern.  groups  is  desired,  its  superiority  over  carved,  or 
even  molded  wood,  will  be  found  very  great ;  not  taking  into  account  the  economy 
of  cost,  that  it  does  not  break,  shrink,  warp  nor  chip,  and,  besides,  damp  or  heat 
having  no  effect  upon  it,  it  improves  in  tone  and  color  by  age. 

As  an  imitation  of  old  carvings  in  dark  oak,  walnut,  mahogany,  it  is 
extremely  elegant,  and  can  be  brought  to  great  perfection  upon  objects  re- 
quiring bright  coloring  or  metallic  luster ;  to  cover  it  with  gold,  silver,  or  the 
transparent  paints,  upon  a  plain  or  "foiled"  ground-work,  is  to  produce  the 
most  charming  ornamentation  conceivable.    Nor,  as  we  have  before  observed,  is 


118 


HOUSEHOLD  ELEGANCIES. 


this  means  of  ornamentation,  comparatively,  expensive ;  and  yet  it  is  so  exceed- 
ingly elegant  that  we  feel  desirous  to  explain  the  method  of  making  it  properly, 


Fig.  2.   Wall  Ornament  in  Leather-Work. 


to  those  who  admire  beautiful  furniture,  and  are  willing,  at  the  expense  of 
patience  and  perseverance,  to  produce  a  decoration  as  rich  and  elegant  as  the 
most  costly  carving. 

The  materials  are  glue,  size,  varnisli,  soft  uncolored  sheep-skin,  chamois-skii^, 
old  kid,  wire  of  two  or  three  sizes,  and,  if  colored  work  is  desired,  paints  in  fine 
powders  and  dye  colors.  The  implements  are  scissors  and  knife,  molding-tools, 
such  as  are  used  in  wax-work,  leaf -molds,  small  gimp-tacks,  a  veiner,  brad- 


HOUSEHOLD  ELEGANCIES. 


119 


awl,  cutting-pliers,  and  brushes  for  glue,  varnish,  etc.  Fir§t  decide  upon  the 
materials  and  the  particular  kind  of  ornamentation ;  also,  whether  the  imitation 
is  to  be  of  walnut,  rose-wood,  or  other  wood.  For  instance,  if  the  article  to  be 
adorned  is  a  frame  for  a  picture,  are  the  materials  to  be  of  a  kind  to  imitate 
black-walnut,  or  light  ornamental-work,  which  is  to  be  gilded  or  bronzed  and 
painted  in  colors  ?  For,  in  the  one  case,  a  dark  dye  and  varnish  will  be  required, 
and  in  the  other,  fine-powdered  colors,  gold  and  silver  foil,  and  bronze  powders ; 
and  as  it  is  requisite,  in  order  to  accomplish  the  work  with  satisfaction,  that  all 
things  should  be  in  readiness  before  commencing  operations,  the  necessity  for 
determining  the  style  of  ornamentation  will  be  at  once  understood. 

In  making  leaves,  etc.,  in  imitation  of  dark  wood,  use  sheep-skin,  and  rolling 
it  in  a  damp  cloth  until  thoroughly  moist,  cut  from  it  a  sufficient  number  of  each 
size  wanted  to  cover  the  frame ;  then  full  them  into  shape,  and  while  quite  damp, 
press  them  on  the  leaf -molds  until  each  vein  and  all  the  fine  tracery  is  distinctly 
marked  upon  the  upper  side,  as  in  making  wax  leaves.  Grapes  are  made  by 
tying  marbles  in  soft  chamois-skin,  clustering  them  upon  a  piece  of  stout  wire 
wrapped  with  kid.  Berries  are  made  from  peas  or  other  round  bodies  tied  in  fine 
kid.  For  stamens  to  certain  flowers,  cut  a  strip  of  thin  sheex3-skin  into  fine 
fringe  and  fasten  around  a  pistil,  more  or  less  thick  and  long.  But  of  these 
points  we  shall  speak  more  particularly,  hereafter.  Elegant  baskets  for  work  or 
other  purposes,  can  be  made  of  wood  and  ornamented  with  various  designs  in 
leather-work,  with  lining  of  bright-colored  velvet  or  quilted  silk,  and  form  both 
handsome  and  useful  articles.  Trellises  and  poles  for  flowers  are  thus  made 
vary  ornamental,  and  a  running  border  of  any  pretty  vine  forms  an  exquisite 
addition  to  a  plain  wooden  mantel-piece ;  while  a  chimney-board,  which  we  have 
had  the  privilege  of  examining,  was  one  of  the  most  elegant  specimens  of  this 
work  that  we  have  ever  seen.  It  consisted  of  a  half  basket  of  fanciful  shape, 
constructed  of  wire  covered  with  leather  and  woven  together  like  Mdcker-work ; 
this  fastened  in  the  center  of  a  board,  which  fitted  in  the  "  fire-place,"  and  was 
filled  first  with  walnut  shavings,  upon  which  leather-flowers  of  various  kinds 
were  tastefully  arranged :  Passion-flowers,  Roses,  Convolvulus,  Pansies,  Bpuvar- 
dias,  Jessamine,  and  numerous  small  blossoms,  such  as  Forget-me-nots,  Blue- 
bells, etc.,  with  sprays  of  various  vines  falling  over  the  sides  and  twined  around 
the  handle.  Ivy,  Hop  and  Maurandias ;  while  a  few  nodding  blossoms  of  Cycla- 
men and  drooping  sprays  of  Fuchsia  finished  the  collection,  which  was  so  ar- 
ranged that  each  one  was  beautifully  displayed  without  any  ungraceful  crowding. 
Around  the  edge  of  the  board  was  a  narroW  vine  of  small  ivy-leaves  and  berries. 
The  whole  was  stained  to  resemble  wahiut,  and  was  as  elegant  as  the  richest 
carved  work. 

Each  flower  or  leaf,  or  clusters  of  them  were  fastened  to  long,  strong  pins  of 
wire,  which,  dipped  in  thick  glue  and  fastened  down  into  the  bed  of  shavings, 
was  held  very  securely,  and  when  dry,  formed  a  compact  mass. 


120 


HOUSEHOLD  ELEGANCIES. 


Furniture  otherwise  plain  and  of  conventional  form  can,  by  this  ornamenta- 
tion, be  made  to  appear  like  costly-carved  wood. 

The  objection  made  by  some,  that  such  work  collects  dust,  is  scarcely  a  just 
one,  as  ornamentation  with  leather  does  not  collect  dast  to  a  greater  degree  than 
carved  wood ;  and  a  common  "  painter's  dust-brush  "  readily  removes  any  collec- 
tion of  dirt,  and  a  little  kerosene  makes  all  as  bright  as  ever. 

MATEEIALS  FOR  ORNAMENTAL  LEATHER-WOEK. 

Oak-stain  (a  spirit  preparation),  Flemish  oak-stain,  asphaltum,  stiffening, 
burnt  umber,  Vandyke  brown,  spirits  tupentine,  liquid  glue,  prepared  size.  Co- 
pal varnish,  Russian  glue,  best  upholsterers'  tacks,  Basil-skins,  skivers,  molding- 
tools,  grape-molds,  convolvulus-molds,  berry-molds,  veiners,  double  veiners,  scis- 
sors, copper  wire,  pincers,  pliers  and  wire-cutters,  boxes  of  materials  complete, 
Johnson's  gold,  silver  and  copper  paint. 

We  will  now  proceed  to  describe  certain  articles  that  are  made  very  elegant 
by  this  mode  of  decoration  : 

A  handsome  bracket  is  made  as  follows :  Have  a  frame  made  of  pine  wood, 
ten  inches  high,  eight  wide,  and  projecting  six  inches  ;  it  is  made  with  a  back 
piece,  sloped  from  the  shelf  to  the  point  in  the  center,  ten  inches  below ;  the 
shelf,  8x6  inches,  is  fastened  to  the  back  piece,  upon  which  it  rests  at  the  top; 
curved  strips,  like  sections  of  a  hoop,  three  in  number,  extend  from  the  center 
and  sides  of  the  shelf  to  the  point  at  the  bottom.  Supposing  this  bracket  is  to  be 
of  rosewood  (imitation),  stain  all  this  wood-work  with  Venetian  red  scalded  in 
vinegar,  using  a  small  soft  brush.  When  dry,  rub  smooth  with  pumice-stone  or 
fine  sand-paper,  and  varnish  with  thin  Japan  varnish,  which  gives  a  fine  imita- 
tion of  rosewood.    Cut  out  a  number  of  convolvulus-leaves,  and  while  damp. 


Fig.  3. 

mold  them  on  the  leaf -molds,  making  three  different  sizes ;  stain  thdse  with  the 
Venetian  red,  and  form  into  proper  shapes,  then  place  near  the  fire  or  in  the  sun 
to  dry ;  and  when  dry,  dip  each  one  in  the  Japan  varnish ;  form  a  few  convolv- 
ulus-blossoms in  the  same  way,  molding  them  on  the  flower-mold  used  for  wax- 


HOUSEHOLD  ELEGANCIES. 


121 


flowers.  The  buds  are  made  by  winding  a  piece  of  leather  on  a  tapering  piece 
of  wood  or  putty,  molded  between  the  fingers  into  the  proper  form,  like  Figs.  C, 
D,  E.  Fig.  B  shows  the  shape  of  the  leaf,  second  size.  Fig.  H  is  a  tendril, 
made  by  winding  strips  of  thin  leather  around  a  knitting-needle,  drying, 
staining  and  varnishing.  The  flower,  with  all  its  parts,  is  shown  in  Fig.  A. 
The  calyx.  Fig.  F,  is  made  by  cutting  five  points  in  a  circle ;  the  stamens,  Fig. 
G,  are  four  long,  thread-like  pieces,  about  half  an  inch  long,  which  are  wound 
round  the  end  of  the  wire-stem.  The  flower,  which  is  cut  from  one  piece  of  the 
shape  of  Fig.  I,  is  caught  together  with  a  few  stitches,  the  edges  having  been 
touched  with  glue.  When  molded  over  the  flower-molds,  the  leather  should  be 
quite  damp  and  soft,  and  the  edge  turned  over  with  one  of  the  molding-tools. 

If  the  leather  is  not  sufficiently  heavy  to  make  the  flower 
and  leaves  stiff,  they  must  be  dippped  into  the  prepared 
size. 

Slip  the  flower  on  the  wire  up  to  the  stamens,  and  wind 
strips  of  Basil-leather  around  the  wire,  up  to  the  flower, 
where  secure  it  by  slipping  on  the  calyx ;  wetting  the  inner 
^.^  J  surface  with  glue,  and  holding  it  firmly  around  the  base  oi 

the  flower;  or  it  may  be  tied  with  thread,  which  can 
be  subsequently  removed.  Arrange  a  number  of  flowers  in  this  manner; 
then  sufficient  leaves  of  the  three  sizes,  to  cover  the  under  braces  and  edge  of 
the  bracket,  when  mixed  with  the  flowers  and  buds.  Stiffen  the  leaves  likewise 
with  glue.  Mold  the  buds  of  putty,  and  wind  leather  around,  as  before  men- 
tioned ;  likewise  form  some  tendrils.  When  all  are  finished,  arrange  the  gar- 
lands upon  wire,  one  for  each  of  the  braces,  and  around  the  edge  of  the  shelf, 
and  place  a  cluster  at  the  point  at  the  bottom. 

It  is  better  to  stain  and  varnish  each  piece  separately,  previous  to  fastening 
them  on. 

If  the  leaves  do  not  appear  veined  deeply  enough,  the  marks  may  be  deepened 
with  the  point  of  the  veining-tool.  The  flowers,  also,  may  be  marked  with  the 
same  instrument.    This  bracket,  when  finished,  is  exceedingly  beautiful. 

Several  different  flowers  are  shown  in  Fig.  4,  which  are  formed  as  shown 
in  Fig.  4,  sections  1  and  2.  When  a  leaf  is  desired,  of  which  a  mold  cannot 
be  obtained,  it  must  be  notched  out  on  the  edge  with  sharp  scissors,  and  the 
veins  made  with  the  tool.  The  petals  of  A  and  B,  Fig.  4,  are  cut  by  a  pasteboard 
pattern,  cut  in  the  shape  of  1  and  2,  five  of  each  forming  a  flower,  while  the  aster, 
C,  requires  twelve,  and  may  be  made  double  or  semi-double,  by  cutting  one  or 
more  rows  of  smaller-sized  petals  of  the  shape  3.  The  stamens  are  composed  of 
a  long,  narrow  strip,  4,  one-eighth  of  an  inch  deep  and  tM^o  or  more  inches  long ; 
cut  into  fine  fringe  on  one  edge ;  then  wound  closely  around  the  pistils  which  are 
made  for  A,  of  three  long,  thread-like  pieces,  stiffened  and  curled,  and  tied  one 
inch  below  the  ends  into  a  knot;  and  slip  the  ends  below  through  a  hole 


122 


HOUSEHOLD  ELEGANCIES. 


ill  the  corolla  and  calyx,  which  is  similar  to  the  one  described  for  the  con- 
volvulus. 

These  flowers,  arranged  on  a  wooden  frame,  appear  like  richly-carved  walnut, 
if  stained  with  burnt  umber  scalded  in  vinegar,  and  varnished  with  Copal. 


ALYX 


Fig.  4. 

A  frame  for  a  picture,  to  be  covered  with  flowers  like  these  just  described,  is 
made  of  well-seasoned  wood.  Size  it  all  over  with  glue-water.  When  dry, 
apply  the  stain  of  Venetian  red,  burnt  umber,  turmeric,  or  any  other  desired ; 
polish  and  varnish ;  then  arrange  the  leaves  and  flowers,  attaching  them  with 
glue  and  tacks.  The  ornaments  may  be  arranged  to  cover  the  whole  as  a  gar- 
land, or  in  clusters,  at  the  corners  and  sides ;  or,  if  the  form  is  oval,  with  clusters 
above  and  below,  and  at  the  sides,  narrowing  as  they  meet  each  other.  One  of 
the  most  beautiful  frames  we  have  ever  seen,  was  an  oval,  made  thus. 

The  oval  or  round  frame  is  made  with  two  pro- 
jecting pieces  of  wood ;  one  around  the  outer  edge, 
the  other  around  the  inner  part,  as  shown  in  the 
section  of  the  frame.  Fig.  5.  These  pieces  are  for 
the  purpose  of  holding  the  trellis-work  and  vines ; 
which,  being  thus  supported,  are  held  away  from  the 
body  of  the  frame,  forming  an  open-work  of  leaves 
and  fruit  upon  a  lattice  trellis. 

The  one  here  described  is  formed  of  grape-vine 
leaves,  fruit  and  tendrils,  but  we  have  seen  one 
equally  beautiful,  of  passion-vine ;  and  another  of 
the  hop-vine,  which  was  peculiarly  rich  and  ele- 
gant. 

The  frame  is  stained  with  burnt  umber ;  rubbed 
smooth,  and  varnished ;  polished  with  a  wet  pad 
dipped  in  pulverized  pumice-stone ;  washed  clean  and  re-varnished  with  a  thin 
coat  of  Copal.    The  leaves  are  of  three  sizes,  cut  while  damp,  from  sheep-skin, 


HOUSEHOLD  ELEGANCIES. 


123 


pressed  upon  the  molds  until  perfectly  marked; 
then  painted  with  size  made  of  fine  flour  paste 
and  white  glue,  dried,  painted  with  the  umber 
stain,  and  dipped  in  varnish ;  then  drained  upon 
a  coarse  sieve  and  dried.  The  grapes  are  made 
by  tying  small  marbles  in  soft  chamois-skin,  fas- 
tening leather-covered  wire  in  the  opening,  and 
forming  clusters  by  fastening  them  upon  a  piece 
of  stout  wire ;  make  tondrils  of  thin  strips  of  kid 
or  fine  leather  twined  around  coarse  knitting-nee- 
dles ;  stiffen  and  color  as  for  the  other  parts.  The 
trellis -work  is  made  by  covering  a  number  of  Fig.  g.  Filbert, 

pieces  of  heavy  wire  with  leather,  making  each  piece  to  reach  diagonally  across 
the  frame  from  one  edge  to  the  other,  as  shown  at  A  and  B,  Fig.  5 ;  at  each  end 
the  leather  is  carefully  fastened,  and  a  piece  of  leather  allowed  to  project  a  little 

beyond  the  wire,  in 
order  to  allow  the  ad- 
mission of  the  tacks 
which  fasten  each  piece 
to  the  projecting 
pieces;  the  wire  s 
should  be  slightly  bent, 
as  shown  at  A  and  B, 
Fig.  5. 

The  heavier  stems  of 
the  vine  are  to  be  made 
of  very  thick  wire, 
wound  first  with  yarn 
or  twine  and  then  cov- 
ered with  leather,  or  of 
canes  so  covered.  Let 
a  -piece  of  wire  exteiud 
around  the  outer  edge ; 
through  which,  tendrils 
and  small  delicate 
pieces  of  the  vine  may 
be  twined,  as  will  be 
seen  in  the  design, 
Fig.  7. 

Fig.  7,   Leather  Picture-Frame.  As  it  is  always  desir- 

able to  have  an  appropriate  table  or  desk  upon  which  to  place  the  "  Family 
Bible,"  we  give  a  design  for  a  parlor-lectern,  which  is  made  of  walnut ;  or,  if  pre- 


124 


HOUSEHOLD  ELEGANCIES. 


ferred,  of  pine  wood  stained  in  imitation  of  rosewood.  (The  Japan  varnish 
should  be  thin  in  order  to  show  the  scarlet  wood.)  The  most  appropriate  orna- 
mentation for  this  piece  of  furniture  is  the  (Passiflora)  Passion-vine,  which  is 
made  as  follows :  Cut  the  shapes  of  leaves  and  various  parts  of  the  flower  first, 
from  card-board. 

The  corolla  is  formed  of  five  petals,  shown  in  Fig.  8,  W.  Take  a  stiff  wire, 
which  cover  for  stem,  and  fasten  on  it,  two  inches  from  top,  a  circular  piece  of 
soft  leather  like  Z.  The  inner  circle  of  petals  is  placed  within  the  outer  one  of 
the  calyx  (X),  in  such  a  manner  that  the  points  of  the  outer  ones  show  between 
those  of  the  inner,  as  shown  in  Fig.  8. 

The  petals  and  calyx  cut  and  curled,  next  form  the  nectary  (Y),  which  is  a, 
circular  piece  of  leather,  half  an  inch  in  diameter,  finely  cut  upon  one  edge ;  an- 
other circular  piece  (O),  an  inch  and  an  eighth  in  diameter,  is  cut  into  long, 


Fig.  8. 


thread-like  pieces,  which  form  the  "  rays  "  peculiar  to  this  flower ;  the  involu- 
crum  is  three-lobed,  and  cut  in  points.  The  pistil  in  a  leather  Passion-flower 
consists  of  the  wire  of  the  stem,  as  described  before,  covered  with  soft  leather, 
wound  around  almost  to  the  point,  where  five  pieces  of  leather,  cut  like  the 
figure  at  A,  are  placed  around' it;  the  leather  wound  round  once  or  twice  to  hold 
them  in  place  and  form  the  club-shaped  style  (B),  which  then  has  the  three 
anthers  (C)  fastened  upon  it  in  the  same  manner;  turning  the  strip  of  leather 
used  in  winding,  across  the  top  between  two  of  the  anthers,  with  another,  wind 


Fig.  9. 


around  the  style  and  across  between  the  other  anther,  and  fasten  it  just  below 
with  glue  or  a  tie  of  thread  or  fine  wire :  this  winding  of  the  pistil  gives  the 
club  shape  to  the  style  below  the  three  anthers  (B).  The  leather  used  for  these 
stamens  and  pistil  must  be  made  stiff  in  order  to  retain  the  proper  form  when 
curled.    The  pistil  and  stamens  arranged,  the  circular  piece  (Z)  is  slipped  on  the 


HOUSEHOLD  ELEGANCIES.  125 

stem  up  to  the  pistil,  allowing  it  to  be  a  half  inch  from  this  point  to  the  slender 
part  of  the  anthers ;  gather  the  edges  together  and  fasten  aromid  the  stem  be- 


Fig,  10.  Bracket  in  Leather-Work, 
low  (see  d)  ;  then  slip  the  fringed  circle  (Y)  on  the  stem,  and  touching  with  glue 
on  the  leather  ball,  turn  the  fringe  up  on  it  and  press  firmly  with  the  fingers ;  a 
circular  piece  of  stiff  leather,  a  half  inch  in  diameter,  with  a  hole  in  the  center,  and 


126 


HOUSEHOLD  ELEGANCIES. 


the  edge  chipped  around  in  a  tiny  fringe,  is  then  slipped  on  the  stem  and  pressed 
closely  against  the  bottom  of  the  upright  fringe  (F)  ;  then  the  "  rays  "  are  put 
on,  and  finally  the  petals  (X)  and  calyx  (W)  are  arranged,  and  the  tri-lobed  in- 
volucrum,  which  must  be  molded  into  shape  with  a  molding-tool,  havirg  it 
damp  and  pressing  the  round  end  into  the  center  of  each  leaf ;  making  them 
rather  cui>shaped.  Prior  to  putting  each  separate  i^iece  upon  the  stem,  it  must 
b'j  moistened  with  glue  in  the  hole  and  around  the  upper  part,  in  order  to  hold 
all  firm  when  dry.  The  petals  must  all  be  carefully  molded  and  creased  with 
the  molding-pin.  The  rays  should  be  taken,  strand  by  strand,  and  after  moisten- 
ing the  fingers  with  size,  curled  and  bent  into  an  arching  form. 

The  buds  are  formed  of  tlie 
E  \  /       lllll  D  111  F      stem,  upon  the  end  of  which  a  roll 

^         ^        ™  ..-^.-4\f--:^      of  the  leather  covering  forms  a 

knob,  with  the  petals  and  calyx 
pressed  into  compact  form  and 
surrounded  by  the  involucrum. 
Fig.  11.  arranged  as  before  described,  for 

som3 ;  others  may  be  smaller,  composed  only  of  the  involucrum  and  three  pieces 
of  painted  leather  within  it ;  while 
some  may  be  j  ust  opening,  disclosing 
the  stamens  and  pistil.  The  leaves 
should  be  of  two  or  three  sizes,  and 
of  the  shape  figured  in  the  design. 
The  tendrils  are  formed  as  before 
described.  All  the  pieces  must  have 
the  smooth  or  dressed  side  of  the 
leather  uppermost,  excepting  the  in- 
volucrum, as  the  petals  iind  calyx  are 
to  be  rolled  over,  outward ;  the  roll- 
ing and  molding  of  the  petals  is  one 
of  the  most  important  features  of 
the  operation,  as  in  the  proper  forma- 
tion of  these  the  principal  beauty 
consists  ;  unless  we  except  the  form- 
ing of  the  pistil,  with  its  style  and 
anthers,  and  the  spade-shaped  sta- 
mens. The  formation  of  these,  nor, 
indeed,  of  any  part  of  the  work,  is 
not  in  the  least  difficult,  requiring 
merely  neatness  and  a  little  skill  in 
arranging.  In  this  and  all  leather- 
work,  we  would  urge  persons  to  ayo/c?  Fi''.  12.  Readino'-Stand. 


HOUSEHOLD  ELEGANCIES. 


127 


over-crowding.  This  will  greatly  enhance  the  beauty  and  that  imposing  effect, 
which  is  so  beautiful  in  rich  carving.  Let  each  separate  part  be  so  arranged  as 
to  show  its  particular  and  distinctive  beauty;  and  never  pile  one  piece  upon 
another,  for  the  sake  of  putting  upon  one  article  as  many  leaves  and  flowers  as 
would  tastefully  ornament  three  or  four.  A  few  handsome  and  well-made  flow- 
ers, artistically  arranged,  will  afford  greater  satisfaction  than  a  half  dozen, 
clumsily-made  and  carelessly  arranged  articles,  combining  an  incongruous  mass 
of  many  kinds,  without  either  taste  or  fitness. 

The  size  requisite  for  this  work  is  prepared  as  follows :  Mix,  cold,  two  ounces 
of  Australian  red-gum,  six  ounces  of  orange  shellac,  half-pint  of  spirits  of  wine; 
put  into  a  bottle  and  cork  tightly.    Shake  frequently,  and  when  all  the  gums 


Fig.  13.  Mantel-Basket, 
have  dissolved,  strain,  and  re-bottle.    We  might  mention,  before  proceeding, 
that  some  persons  use  regular  molds  for  grapes,  etc.,  wetting  round  of  skiver- 
leather,  and  pressing  into  the  molds,  then  filling  with  wadding  or  liquid  plaster, 
inserting  the  stem  in  the  opening  at  the  top,  where  the  ends  are  gathered,  and 


128 


HOUSEHOLD  ELEGANCIES. 


clustering  on  a  larger  stem  of  wire  covered  with  Basil-leather.  For  filberts, 
acorns,  and  large,  hard  berries,  use  the  fruit  itself,  and  cover  with  damp 
Basil  or  skiver  leather.  (Basil  is  sheep-skin  tanned ;  skiver  consists  of  the  soft 
pieces  on  the  edges,  or  the  shavings  from  the  currier's  bench.)  For  large  speci- 
mens of  fruit  it  is  advisable  to  have  molds,  filling  with  any  substance  to  preserve 
the  rotundity.  A  peach,  for  instance,  is  made  thus :  select  a  hard,  unripe  speci- 
men, take  the  impression  of  the  two  halves,  cut  a  piece  of  leather  larger  than  the 
mold,  dip  it  into  cold  water,  and  with  the  fingers  press  it  well  into  the  mold, 
then  allow  to  dry ;  proceed  in  the  same  manner  with  the  other ;  then  pour  liquid 
plaster,  mixed  with  glue-water  into  the  two,  until  full  up  to  the  edges,  which 
must  be  kept  perfectly  even  and  horizontal ;  touch  these  edges  with  dissolved 
glue,  and,  lifting  the  halves  from  the  molds,  which  they  should  leave  readily, 
place  them  together,  rub  down  the  edge  where  connected,  and  when  dry  and 
perfectly  connected,  brush  over  with  size,  and  varnish.  Pears,  lemons,  etc.,  may 
be  made  in  the  same  manner.  Filberts  or  hazel-nuts  are  very  effective  made 
thus :  crack  the  finest  nuts  so  as  to  halve  them,  which  is  done  by  passing  a 
knife  around ;  first  smooth  the  edges  with  a  rasp  or  knife,  and  wiping  out  the 
inside,  you  have  the  tiny  and  perfect  molds  ready.  Cut  Basil,  or  soft  leather  of 
any  kind,  from  these  shells,  allowing  each  piece  a  little  larger ;  dip  in  water,  and, 
oiling  the  inside  of  each  shell  a  little,  press  in  the  leather,  paint  with  size,  and 
place  away  to  dry.  When  dry,  fill  up  as  described  for  the  peach ;  remove  from 
the  molds,  and  proceed  as  with  the  peach. 

The  bract  shown  in  Fig.  6  is  made  by  laying  the  pattern  on  the  leather,  and 
cutting,  always  minding  to  make  clear  cuts  and  perfect  edges;  then  curling 
and  pinching,  while  moist,  and  painting  with  size.  The  nut  is  then  placed  in 
the  center  and  glued  fast,  the  ends  of  the  leather  being  brought  round,  as  in  the 


Fig.  14. 

natural  nut.  When  several  are  formed,  fasten  together  in  a  tasteful  and  natu- 
ral manner.    These  form  very  beautiful  ornaments.    Strawberries  are  formed 


HOUSEHOLD  ELEGANCIES. 


129 


Fig 


like  grapes,  and  the  leather  is  pinched  up  into  points  with  tweezers  and  knife- 
point, and  a  calyx  formed ;  raspberries,  blackberries,  etc.,  are  formed  in  the  same 
manner,  with  long,  pyramidal-shaped  pieces  of  leather,  and  dotted  with  pieces  of 
soft  leather,  wet  with  size,  and  rolled  into  balls ;  always  arrange  with  calyx  and 
proper  leaves.  Wheat  is  formed  by  rolling  leather  strips  into  a  long  oval,  size  of 
the  grain,  then  covering  with  concave  pieces  of  similar  form,  to  which  colored 
horse-hair  is  glued ;  then  arrange  on  a  long  roll  of  leather,  size  of  the  ear ;  stiffen 
and  varnish. 

Figures  are  made  in  plaster-molds,  as  described  for  fruit,  fUhng  m  with  any 
substance  convenient ;  such  as  scraps  of  leather, 
wool,  cotton,  or  better  still,  common  plaster  of 
Paris. 

There  is  no  prettier  flower  in  leather  than 
the  rose,  whether  the  conventional  wild  rose,  or 
the  full,  double-hybrid  varieties.  As  it  is  al- 
ways best  to  cut  the  petals,  or  the  entire  corolla 
in  one  piece,  when  possible,  this  rose  is  best 
formed  in  the  following  manner:  Cut  six  or 
eight  pieces  of  the  shape  of  A  and  B,  which  are 
the  smallest  and  largest  sizes,  the  remaining 
four  or  six  to  be  graduated  in  size  from  A  to  B  ; 
C  shows  the  third  size,  one  coming  between  it  and  A ; 
where  eight  sets  are  used  they  are  larger  than  B.  The  size  depends  upon  th?, 
piece  of  furniture  to  be  ornamented ;  for  a  frame,  bracket  or  other  small  article, 
the  smaller-sized  flowers  must  be  used ;  for  a  large  table,  sideboard  or  any  heavy, 
massive  piece  of  furniture,  the  flower  may  be  of  the  size  of  the  natural  one. 
The  corolla  of  the  double  rose  is  arranged  with  the  petals,  as  they  ajppear  in  B, 
with  the  second  set  of  petals  upon  the  divisions  of  the  one  previously  placed, 
'^.''he  stem  is  covered  with  leather,  and  the  end  bent  over ;  the  small  circle  of 
petals  are  then  put  on  the  stem,  slipped  up  to  the  bend  of  the  wire,  then 
crumpled,  and  pressed  closely  around  it  (the  first  two  circles  might  better  be 
made  of  a  soft  part  of  the  skin)  ;  the  second  circle  is  theji  slipped  on,  and 
folded  around  the  first  one,  one  petal  overlapping  the  other.  Great  care  must 
be  taken  to  mold  and  curl  these  petals ;  rolling  the  edges  upon  a  smooth  board 
with  a  round  molding-tool,  and  pressing  the  ball-end  of  the  tool  into  the  center. 
The  two  or  three  outer  circles  must  be  curved  outward.  The  calyx  is  found  as 
shown  in  D,  molded  and  fastened  with  glue.  The  rose-leaves  should  be  molded 
upon  a  deeply-marked  gilt  leaf-mold,  and  a  wire  stem  with  cover  of  thin  kid  fast- 
ened to  each  one,  then  the  cluster  formed  upon  a  larger  and  stronger  wire. 
The  buds  are  formed  of  circles,  like  the  smaller  petals,  pressed  upon  wire-stems, 
in  the  same  manner  as  the  flower ;  the  calyx  then  cut  and  molded,  and  arranged 
around  the  petals.  For  small,  close  buds,  cut  pieces  and  cover  with  calyx ;  be- 
low this  wind  a  fine  thread  of  leather  into  the  form  of  an  ovary,  and  cover  with 


15.   Veining  the  Ijoaves. 
two  between  it  and  B ; 


130 


HOUSEHOLD  ELEGANCIES. 


soft  leather ;  or,  better  still,  mold  a  little  lump  of  putty  into  the  desired  form 
around  the  stem,  and  color  with  the  stain  used  upon  the  leather.  A  handsome 
table  thus  ornamented  is  shown  in  Fig.  18. 

A  beautiful  hanging-basket  is  shown  in  Fig.  10 ;  it  is  composed  of  a  wooden 
bowl,  such  as  is  used  in  any  kitchen,  stained  with  a  decoction  made  of  gamboge, 
put  in  ale  or  vinegar,  or  curcuma 
boiled  in  water ;  and  when  dried, 
subjecting  to  the  fumes  of  am- 
monia ;  or,  by  brushing  over  with 
vinegar  in  which  a  few  pieces  of 
rusty  iron  have  been  placed  for  a 
few  hours.  Great  care  must  be 
taken  not  to  apply  this  too  strong, 
as  there  is  danger  of  turning  the 
article  black  instead  of  yellowish- 
brown. 

The  ivy  and  oak,  Fig.  16,  com- 
bined, have  a  very  fine  effect. 
The  bowl  being  stained  of  a  dark 
"  old-oak  "  color,  and  highly  pol- 
ished; the  oak-leaves  and  stems 
can  be  formed  of  tiny,  gnarled 
branchlets  of  real  oak,  and  the 
acorns  may  be  formed  of  the  nat- 
ural cups,  with  nuts  of  putty,  or 
the  half  of  small  pecan-nuts, 
glued  into  the  cups.     Or  the 


Fig.  IG.  Hanging-Basket. 


stems  may  be  formed  of  thick  wire,  covered  with  leather,  and  the  nuts  of  the 

acorns,  also  made  of  kid,  over  a  turned 
wooden  foundation,  and  glued  in  the 
acorn-cups ;  but  the  first  method  will  be 
found  the  most  natural  in  appearance. 
The  ivy-vines  may  be  formed  of  covered 
wire,  bent  to  the  proper  curve;  or,  the 
pliant  vines  and  tendrils  of  dried  vines 
may  be  used;  the  natural  tendrils  will 
be  found  more  graceful  than  any  arti- 
ficial ones  can  possibly  be. 

After  making  the  stems  and  cutting 
and  bending  them  to  resemble  gnarled 
oak,  attach,  as  naturally  as  possible,  oak- 
Fig.  17.  ivy-Leaf.  leaves  and  acorns,  fastening  them  on  the 

back  part  of  the  wire ;   then  attach  the  ivy-leaves,  berries  and  tendrils  to 


HOUSEHOLD  ELEGANCIES. 


131 


wire-stems,  and  a  garland  of  the  same  for  the  front  edge  of  the  bowl.  Tack  the 
branches  of  oak  tastefully  upon  the  bowl,  and  twine  the  ivy  among  them. 

There  should  be  three  shades  of  oak  in  this  piece  of  work.  The  bowl,  a  deep 
brown ;  the  oak,  the  natural  "  old-oak "  shade  of  brownish  yellow ;  the  ivy,  a 


Fig.  18.   Table  Ornamented  with  Leather-Flowers. 


light  oak ;  the  acorns  should  be  their  own  natural  color.  Mold  and  shape  the 
leaves  carefully. 


Fig.  19. 

Fig.  24  shows  another  pretty  plant-basket  of  oval  form,  adorned  with  the  hop- 
vine,  which  is  extremely  beautiful  in  this  kind  of  work.    The  blossoms  are 


132 


HOUSEHOLD  ELEGANCIES. 


formed  by  fastening-  a  number  of  petals  around  a  piece  of  covered  wire,  and 
arranging  them  in  loose,  graceful  clusters.    The  leaves  are  of  beautiful  form. 


Fig.  20.  Clock-Shelf. 

and  the  gilt  molds  may  be  obtained  at  the  wax-flower  establishments.  The 
form  of  the  petal  is  shown  at  A  A,  and  the  completed  corolla  at  B,  with  the 
leaf,  C. 

Each  petal  must  be  made  concave  by  roll- 
ing upon  the  inner  surface  with  the 
rounded  end  of  a  proper-sized  molding- 
tool.  The  blossoms  should  vary  in  size, 
the  buds  being  quite  small  and  close  ;  but 
as  every  one  is  familiar  with  this  beauti- 
ful vine,  it  is  useless  to  describe  it  more 
minutely. 

The  most  elegant  sample  of  it  we  have 
ever  seen  was  stained  jet  black ;  a  high  Fig.  21. 

polish  given  to  the  oval,  wooden  bowl,  and  also  to  the  leather,  by  means  of  black 


HOUSEHOLD  ELEGANCIES. 


133 


varnish  and  polishing  with  pumice-stone,  in  fine  powder,  and  a  wet,  woolen  pad. 
The  stain  was  made  by  first  painting  with  a  decoction  of  log-wood  chips,  made 

strong  by  boiling ;  this  dry,  the  va- 
rious parts  are  blackened  by  paint- 
Jng  with  vinegar  in  which  pieces  of 
rusty  iron  have  soaked  for  several 
days.  After  the  parts  are  all  finely 
polished,  the  leaves  are  veined  and 
touched  with  gold,  and  the  blossoms 
edged  and  marked  with  it.  The 
effect  of  the  black,  glossy  surface 
and  gilding  are  exceedingly  rich 
and  striking.  At  Fig.  22  is  shown  a 
watch-stand  made  of  light  wood  or 
heavy  pasteboard,  and  ornamented 
with  sprays  of  the  fuchsia.  The 
calyx,  of  course,  forms  the  external 
part  of  this  flower,  and  is  cut  from 
one  piece  of  leather  as  shown  at  D, 
Fig.  19.  The  petals,  four  in  num- 
ber, cut  separately,  as  showed  at 
E.  They  must  be  molded  into 
shape  and  glued  to  the  stamens  (F) 
inside  the  branching  calyx,  so  as  to 
alternate  with  its  four  lobes,  and 
folded  one  under  the  other.  The 
Fig.  22.  Watch-Stand.  stamens  are  eight  in  number,  long 

and  gracefully  bent,  as  also  the  one  pistil  (F).  It  is  put  together,  thus  :  To  the 
covered  wire-stem,  of  rather  stiff  but  not  thick  wire,  attach  to  one  end  a  piece  of 


Fig.  23.    Shelf  Trimmed  with  Leather-Leaves. 

slender  wire,  or  stiffened  leather  rolled  into  a  round  form  (F)  ;  make  an  anther 
upon  the  end  of  putty  or  fine  leather.    This  wire  should  be  an  inch  long ;  around 


134 


HOUSEHOLD  ELEGANCIES. 


it  arrange  the  stamens,  cutting  them  like  fine  threads  from  one  piece  of  leather, 
four  of  them  three-fourths  of  an  inch  long,  the  other  four,  slightly  shorter ;  cut 
the  end  with  a  little  rounded  tip  to  represent  the  filaments ;  stiffen  them  with 
glue  and  curve  each  one  gracefully ;  then  having  the  petals  molded  and  shaped, 


Fig.  24.  Basket  in  Leather-Work, 
roll  them  around  the  stamens  and  fasten  with  thread,  fine  wire  or  glue ;  then 
take  the  calyx,  and  touching  the  edges  with  glue,  fasten  it  around  the  petals, 
and  to  hold  it  together,  tie  a  thread,  temporarily,  around  it.  The  flower  must 
be  formed  as  shown  in  the  design,  with  the  calyx  rolled  out  and  expanded;  the 
petals,  surrounding  the  stamens  and  pistil ;  the  buds  are  formed  of  the  calyx 
curved  around  the  stems,  not  inserting  any  stamens.  The  leaves  are  of  beauti- 
ful form,  and  the  molds  are  readily  procured. 

This  watch-stand  is  very  ornamental  when  made  of  white-wood,  painted  with 

7S  the  highly-  glossed 
enameled  paint,  the 
leather  work  of  the 
lightest,  finest  leather, 
painted  in  bright 

Fig.  25.    Pattern  of  Frame.  colors  of  the  natural 

hues  of  the  flowers  and  leaves. 


HOUSEHOLD  ELEGANCIES.  135 

Use  finely-powdered  colors,  mixing  them  to  the  consistency  of  cream  with 
white  of  egg  with  a  little  distilled  vinegar.    This  mixture  must  be  kept  tightly 


Fig,  26.  Hanging-Basket, 
corked,  and  used  as  required.    The  colors  may  be  mixed  with  parchment-size, 
gelatine  or  gum-arabic,  in  solution.    After  coloring,  give  a  thin  coat  of  Demar 
varnish. 


136 


HOUSEHOLD  ELEGANCIES. 


When  carefully  painted  in  natural  colors,  and  tastefully  shaded  and  tinted, 
and  touched  up  with  lines  and  marks  of  gold,  leather-work  of  this  style  is  ex- 
quisitely beautiful.  For  various  articles  it  is  particularly  appropriate ;  frames, 
brackets,  baskets,  card-receivers,  letter  and  paper  racks,  etc.,  appearing  like  en- 
ameled carving,  such  as  we  see  in  the  imported  work  from  France  and  Germany. 

HANGING-BASKET  WITH  OENAMENTAL  LEATHEE 
LEAVES,  ETC. 

This  is  truly  an  exquisite  basket,  and  with  the  instructions  given  in  the  previ- 
ous lessons,  may  be  easily  made. 

The  skeleton  or  case  of  the  basket.  Fig.  26,  is  formed  of  the  springs  from 
"  hoop-skirts,"  which  will  be  readily  formed  by  examining  the  diagram. 

Take  four  strips  twenty-five  inches  in  length ;  tm'n  two  inches  over  at  the  top, 
in  the  manner  shown  in  Fig.  27 ;  then,  cut  five  lengths  of  eighteen  inches, 
which  bend  into  arches ;  turn  or  coil  up  two  inches  at  the  bottom,  and  fasten  the 
five  arches  together  closely  at  the  bottom,  spreading  them  to  a  circumference  of 
twenty-four  inches  at  the  top ;  where  fasten  them  four  inches  from  the  top  with 
bands  or  hoops  of  the  heaviest  spring,  allowing  two  inches  between  the  upper 
and  lower  one.  Finish  with  an  inner  hoop  crossed  below  the  lower  hoop,  and 
bound  to  the  outer  lengths  with  fine  copper  wire.  Fasten  a  strip  of  the  hoop 
spring  around  the  coils  at  the  bottom,  and  give  the  whole  a  coat  of  brown 
paint,  then  of  bronzing.    The  cover  of  the  hoops  should  be  retained. 

The  leather  ornamental-work  is  fully  described  in  the  pre- 
ceding part  of  this  chapter,  as  it  consists  of  leaves,  which, 
after  being  cut,  veined,  and  stiffened,  may  be  colored  to  imi- 
tate wood-carving ;  or  still  more  beautiful,  receive  a  coat  of 
transparent  gums  upon  foil,  afterward  veining  and  marking 
with  gold.  In  this  case,  color  the  wire-work  a  rich  trans- 
parent brown  on  foil,  and  gild  parts  of  the  arches  and  coils. 
The  flowers,  color  a  deep  crimson,  put  on  in  the  same  way. 
Gutta  percha  flowers  and  leaves  will  be  lovely  on  this  bas- 
ket, which  is  handsome,  however  ornamented. 

Very  many  other  useful  articles  may  be  ornamented  by 
groups  of  flowers,  berries,  leaves  and  tendrils,  made  of  scraps 
of  leather.  Brackets,  wall-receivers,  picture-frames,  corner- 
shelves,  tables,  watch-cases,  shaving-paper  holders,  and  glove- 
boxes  are  only  a  few  of  the  hosts  of  things  to  which  leather- 
work  may  be  appropriately  applied. 

Ivy,  grape  and  oak  leaves  furnish  the  prettiest  patterns, 
but  it  is  well  to  collect  specimens  of  various  kinds,  in  order 
to  have  an  assortment.  Certain  flowers,  such  as  the  convolv- 
ulus, are  easily  made  by  cutting  circular  pieces  of  leather, 


u  ,  if 


Fig.  27. 


HOUSEHOLD  ELEGANCIES. 


137 


and  pressing  the  center,  while  wet,  into  a  thimble ;  keeping  the  smooth  side 
uppermost,  and  curling  the  outer  circumference  over  the  rounded  edge  of 
the  thimble,  until  the  required  shape  is  obtained.  Stems  are  provided  by- 
cutting  narrow  strings  or  strips  of  leather,  widening  somewhat  out  at  one 
end.  A  small  hole  being  pierced  in  the  bottom  of  the  flower-cup,  the  stem  is 
drawai  through  and  a  ball  formed  by  rolling  up  the  broader  end,  which  will  re- 
main inside  and  prevent  its  being 
pulled  out  again.  Buds  are  made  by 
cutting  out  star-shaped  pieces,  some- 
what in  the  form  of  a  white  jessa- 
mine-blossom, and  having  threaded 
the  same  kind  of  -stem  through  the 
center ;  in  this  case  keeping  the  rough 
side  uppermost,  it  can  be  twisted 
while  still  wet  into  a  very  well-shaped 
bud.  Real  acorns  may  be  effectively 
introduced  among  leather  oak-leaves ; 
grapes  may  be  formed  by  covering 
small  marbles  with  very  thin,  wet 
leather,  and  gluing  them  together  in 
clusters,  when  dried;  and  for  iA'y- 
berries,  smooth  peas  may  be  glued  in 
place,  and  painted  brown.  Pine 
picture  -  frames  may  be  cheaply  ob- 


Fig.  28.  Watch-Pocket. 


Fig.  29.  Leatber-Bracket. 


138 


HOUSEHOLD  ELEGANCIES. 


tained  at  any  wood-turner's,  and  after  being  stained  brown,  are  ready  to  be  cov- 
ered with  leather-work,  as  taste  may  suggest.  So,  also,  with  brackets  and  aU 
the  other  articles  named.  The  leather  leaves  and  -flowers  must  be  fastened  on 
securely  with  small  gimp-tacks,  which,  if  managed  rightly,  will  not  be  seen  at 
all.  A  little  glue  may  also  be  used  to  ensure  firmness.  It  is  well  not  to  attempt 
to  combine  a  variety  of  leaves  on  one  article,  but  rather  to  let  ivy  predominate 
in  one,  oak  in  another,  grape  in  another,  and  so  on,  thus  producing  unique  ef- 
fects. Well-secured  leather  ornaments  are  extremely  durable,  and  will  bear 
daily  dustings  for  years ;  if,  in  course  of  time,  they  become  shabby,  a  little 
varnish  will  renovate  them.  The  bracket  and  watch-case.  Figs.  28  and  29,  ex- 
plain themselves.  One  has  only  to  obtain  pine  frame-work,  and  stain  and  dec- 
orate it  according  to  directions  already  offered.  The  bracket  should  be  more 
thickly  covered  with  leaves  than  is  indicated. 

Some  persons  like  to  dust  a  little  fine  bronze-powder  over  their  leather-work 
while  the  varnish  is  still  sticky. 


CHAPTER  VII. 


WALL-POCKETS. 


Probably  no  one  article  of  modern  invention  and  ingenuity  has  afforded 
greater  satisfaction  than  wall-pockets.  Persons  naturally  incline  to  take  ease 
and  comfort  whenever  it  is  possible,  and  to  have  a  receptacle  for  various  articles, 
without  the  trouble  of  going  to  some  inconvenient  place  to  reach  it,  or  with- 
out having  the  trouble  of  opening  it  when  it  is  I'eached.  Hence,  "wall- 
pockets,"  "catch-alls,"  and  all  the  numerous  class  of  conveniences  classed 
under  the  head  of  "trouble-savers,"  are  voted  the  most  popular  inventions 
of  the  day.  It  is  certainly  a  great  comfort  to  a  tidy  housekeeper  to  have 
all  things  in  her  abode  in  a  state  of  perfect  neatness ;  and  the  opposite  con- 
dition, when  from  cellar  to  attic  every  article  is  out  of  place,  or  thrown  care- 
lessly down,  because  the  place  for  it  is  not  convenient,  keeps  things  in  that 
state  of  chronic  "  unfixedness "  which  produces  impatience  and  ill-temper  as 
well ;  hence,  these  wall-pockets,  and  all  their  class  of  relatives,  are  blessings ; 
and  as  pretty  things  are  a  "  joy  forever,"  we  rejoice  in  their  capability  of  being 
made  into  really  artistic  house  adornments. 

The  spacious  proportions  required  by  some  of  these  articles,  which  are  in- 
tended to  contain  large  articles,  render  it  necessary  to  have  the  front-piece 
large ;  and  hence,  these  articles  are  capable  of  being  made  unusually  handsome, 
as  upon  this  large,  front  panel,  a  painting  or  other  object  may  be  displayed  ia 
size,  that  will  render  it  very  imposing. 

WALL-POCKETS  FOR  HORTICULTURAL  PAPERS. 

Measure  the  size  of  the  magazine  or  paper,  and  cut  two  pieces  of  walnut ;  the 
one  for  the  back  one  inch  wider  upon  each  side,  and  as  high  again  as  the  front- 
piece,  which  must  be  one  inch  higher  than  the  paper,  and  as  wide  as  the  back ; 
"  one-quarter-inch  stuff "  is  the  suitable  size ;  cut  the  back  in  a  high  point,  with 
ornamental  curves.  With  English  walnuts  and  pecans,  form  a  cluster  of  nuts, 
with  leather-leaves  at  the  top,  and  graceful  branches  of  smaller  leaves,  forming 


140 


HOUSEHOLD  ELEGANCIES. 


a  spray  upon  each  side.  Obtain  a  Decalcomanie  picture,  with  gold  covering  for 
dark  surface,  of  rich  fruit  and  flowers,  or  a  scene  of  some  rural  kind,  sufficiently- 
large  to  cover  the  space  between  the  pocket  and  the  cluster  or  half-wreath  of 
nuts,  and  place  around  it  a  wreath  of  flowers,  in  the  same  kind  of  work ;  or,  hav- 
ing cut  from  the  colored  plates  in  flower  and  fruit  catalogues,  the  bright  flower 
and  fruit,  twine  them  carefully,  and  arrange  them  in  a  graceful  bouquet,  basket, 
or  vase,  obtained  also  from  plates ;  or,  better  still,  a  colored  picture,  of  hay- 
makers, fruit-gatherers,  etc.  Various  modes  of  adornment  will  suggest  them- 
selves to  a  person  of  taste,  and  may  be  obtained  in  every  household ;  as  even  the 
fruit  and  flowers  upon  fruit-cans,  tastefully  arranged,  may  be  formed  into  many 


Fig.  1.   Wall-Pocket,  Ornamented  with  Leaves,  Nuts,  Etc. 

iSeautiful  designs.  After  pasting  any  of  these  ornaments  upon  the  back,  the 
front  of  the  pocket  is  ornamented  in  the  same  manner,  with  scroll-edge,  and 
groups  of  nuts  and  leaves  in  the  corners,  and  around  the  edges ;  a  landscape- 
scene,  or  fruit  and  flowers  in  the  center,  corresponding  with  the  top.  When  dry, 
varnish  with  Demar  or  outside  varnish,  first  staining  the  nuts  with  umber  and 
vinegar.  Line  the  lower  part  of  back,  and  inside  of  pocket,  with  scarlet  muslin, 
velveteen  or  marbled  paper,  and  fasten  small  brass  hinges  between  the  back  and 
front ;  or,  make  a  muslin  hinge,  by  gluing  a  piece  of  strong  black  cloth  along 
the  bottom,  putting  it  upon  the  inside.  Obtain  a  yard  of  small  brass  chain, 
which  fasten  to  a  screw  in  the  back,  and  to  ornamental  buttons  fastened  on  the 


HOUSEHOLD  ELEGANCIES.  141 

front,  allowing  it  sufficiently  loose  to  form  a  pocket  for  the  accommodation  of  the 
papers.  For  holding  fancy  paper,  etc.,  this  case  may  be  made  of  light,  fancy 
wood,  rubbed  perfectly  smooth  with  pumice-stone ;  and  a  painting  in  oil,  painted 
upon  the  surface,  and  silken  cords  used  as  a  finish,  with  bunches  of  tassels. 


Fig.  2.  "Wall -Pocket  in  Velveteen  and  Spray-Work. 


The  wall-pocket  we  show  in  Fig.  2  is  made  of  white  velveteen.  The  figures  are 
cut  from  paper,  and  fastened  on  with  sfnall  pins.  There  are  two  sets  of  these  : 
those  leaving  the  surface  pure  white,  and  which  constitute  the  flowers,  stars  and 
figures,  which  fill  in  the  scroll-work  point.  The  scroll  is  cut  separately.  These 
are  placed  in  position,  and  the  surface  "  spattered the  scroll-work  papers  are 


142 


HOUSEHOLD  ELEGANCIES. 


then  removed  ;  the  work  again  spattered  slightly,  then  the  flowers,  etc.,  are 
removed  ;  the  black  parts  are  then  made  with  indelible  ink  and  India  ink 
rubbed  together.  A  pocket  is  made  and  lined  on  the  upper  part  of  the  back, 
with  black  velveteen,  which  contrasts  with  the  white  edge,  and  shows  the  beauty 
of  the  work  more  distinctly.  This  same  pattern  looks  beautifully  on  white 
drilling-muslin,  spattered  with  indelible  ink,  and  is  very  useful  in  a  chamber, 
to  hang  beside  the  bed  or  wash-stand.  An  entire  set,  consisting  of  piano-cover, 
table-cover,  tidies,  covers  for  chairs,  sofa,  etc.,  were  made,  with  figures  of  various 
sized  fern  leaves ;  the  sprays  made  with  indelible  ink,  and  India  ink,  equal 
parts.  Finish  either  with  white  fringe,  cords  and  tassels.  The  exquisite 
delicacy  and  beauty  of  this  parlor-set  can  not  be  imagined ;  and  after  several 
washings,  the  beauty  was  not  in  the  least  impaired.  We  would  advise  our 
readers  to  try  such  a  one. 

BEAD  WALL-POCKET. 

Obtain  a  quantity  of  large  German  beads,  with  silver-foil  lining.  Make  a 
skeleton  case  of  hoop-skirt  springs,  retaining  the  cover,  thus  :  Take  the 
stiff  est  spring,  and  sew  two  pieces,  twelve  inches  long,  together  ;  also,  two  other 


Fig.  3. 


Fig.  4. 


-  HOUSEHOLD  ELEGANCIES. 


143 


pieces  sixteen  inches  long,  in  the  same  manner;  in  order  to  stiffen  them  fasten 
the  long  piece  securely  to  the  back,  thus  forming  a  projecting  front.  Cut  six 
pieces,  half  a  yard  long,  which  fasten  together  at  the  ends ;  the  top  sewed  on  the 
projecting  front,  form  the  skeleton  of  the  pocket;  see  Fig.  3,  A,  for- the  back; 
make  fifty-seven  circles  of  the  hoops,  two  inches  in  diameter,  which  sew  upon 
the  upper  part  of  the  straight  piece  of  hoop;  first  seven,  then  five,  ending  at  the 
top  with  one;  for  the  lower  part  use  the  same.  Cover  these  with  tlie  beads,  Fig  4, 
and  form  festoons  of  them  in  double  rows  along  the  front,  with  a  long  tassel  at 
the  point.  Make  a  pointed  bag  of  bright-colored  silk  or  glazed  muslin,  with 
which  line  the  lower  part ;  and  cover  a  piece  of  paste-board  cut  in  shape  of  the 
back  for  the  lining  of  the  back,  covering  it  upon  the  back  side  with  paper  pasted 
neatly  over  it.  A  cord  of  twisted  beads  or  bright-colored  silk  finishes  the  edge, 
and  a  loop  of  the  same  for  suspension.  This  is  a  very  ornamental  pocket  for 
holding  various  articles  in  a  sitting-room  or  parlor.  Coral-work  ornaments 
these  prettily. 

PAPER-CASE.— FIG.  5. 

Cut  a  piece  of  thin  board  fourteen  inches  long  and  eight  broad ;  round  off  the 
corners  and  cut  to  fit  around  it  a  strip  of  card-board  or  stiff  pasteboard,  four 
inches  deep.  Cut  a  piece  of  coarse  canvas  six  inches  broad,  and  sufficiently  long 
to  reach  around  the  sides  and  front  of  the  bottom  board ;  embroider  upon  it 


Fig.  5. 


144 


HOUSEHOLD  ELEGANCIES. 


with  double  zephyr  a  Grecian  pattern  four  inches  deep,  and  fill  in  with  German 
beads,  either  white-crystal  or  silver-foil  kind ;  cover  the  strip  of  pasteboard  with 
this,  and  covering  the  wooden  bottom  with  muslin,  sew  the  strip  around  it. 
Make  a  loop  fringe  with  the  beads  and  fasten  around  the  bottom  in  double  fes- 
toons or  loops ;  make  a  thick  cord  of  the  beads,  with  which,  finish  around  the 
top  of  the  fringe  and  around  the  edge.  Fasten  four  heavy  cords,  two  at  the 
back  and  one  upon  each  side  (front),  for  suspension,  with  a  bunch  of  tassels  at 
the  top.  Make  a  case  lined  with  bright -colored  muslin,  to  fit  inside.  These 
cases  are  much  admired,  and  have  been  so  popular  at  fairs,  and  public  bazaars, 
that  the  demand  has  far  exceeded  the  ability  to  furnish  them.  Scarlet  zephyr 
and  trimmings,  with  the  silver-foil-lined  German  beads  are  handsomer  than  any 
other  combination. 

WALL-POCKET  TOE  HALL. 

This  pocket.  Fig.  5,  is  intended  to  hang  near  the  hat-rack,  for  the  purpose  of 
holding  gloves,  etc.  The  back  is  cut  from  heavy  card-board,  such  as  box-makers 
use,  twelve  inches  long,  and  fourteen  high.  A  bottom  as  long  as  the  back,  and  six 
inches  deep,  with  the  front  corners  rounded  off,  and  the  front-piece  cut  suffi- 
ciently long  to  pass  around  this ;  these  pieces  are  sewed  together  with  strong 
thread ;  the  whole  is  then  covered  either  with  bronze  or  other  fancy  paper,  or 
with  muslin,  velvet  or  silk,  upon  which  are  pasted  bright  pictures  of  heads, 
views  or  scenes,  in  proper  positions ;  then  varnish  with  Demar.  The  edges  are 
then  covered  with  fancy  gilt  paper,  and  a  loop  of  silk  cord  placed  at  the  top. 

NETTED  WALL-BAG. 

From  the  steel  springs  of  a  hoop-skirt  cut  two  each  of  the  following  pieces  : 
twelve,  sixteen,  ten  and  fourteen  inches ;  sew  each  two  together  in  order  to 
strengthen  them.  Cut,  also,  four  strips  eight  inches  long.  Sew  the  twelve-inch 
strips  to  the  ends  of  the  sixteen-inch  one,  which  will  project  in  a  semi-circle.  A, 
Fig.  6  ;  to  these  sew  the  four  eight-inch  pieces ;  two  upon  the  straight  back-piece, 
and  two  upon  the  front,  securing,  at  the  bottom,  with  the  fourteen-inch  piece. 


12  in. 


Fig.  G. 


HOUSEHOLD  ELEGANCIES. 


145 


which,  fastened  to  the  back,  will,  when  sew^ed  together  at  the  ends,  form  a  skele- 
ton, Fig.  6.  Net,  with  scarlet  zephyr,  a  bag  sufficiently  large  to  fit  easily  around 
the  top,  and  tapering  to  a  point  about  six  or  eight  inches  below  the  circular  piece 
at  the  lower  part  of  the  skeleton.  Ornament  with  loops  of  large,  pearl  beads 
around  the  front,  and  row  of  thick  chenille ;  at  the  bottom,  a  long  tassel  of  the 
pearl  beads.    Suspend  by  four  chenille  cords  and  bunch  of  tassels. 

INIake  a  lining  of  white  silk,  fitting  neatly  and  tightly  around  the  top,  of 
length  of  netted  cover,  and  gather  into  a  point  at  the  bottom ;  sew  within  the 
frame- work,  and  cover  the  stitches  with  chenille.  This  is  a  pretty  bag  for  a 
handsomely-furnished  room,  and  useful  for  holding  dusters,  etc. 

The  round  beads  are  pearl,  with  opal-colored  bugles,  and  seed-pearl  beads  on 
the  points. 

WALL-POCKET  ORNAMENTED  WITH  SPRAY-WORK. 

Procure  two  pieces  of  satin  or  other  white  wood ;  the  one  for  the  back  twenty- 
eight  inches  long  and  sixteen  wide ;  and  the  other,  which  is  front  of  pocket, 
thirteen  by  fourteen  inches. 

The  back  is  to  be  cut  in  a  point  in  the  center,  and  gracefully  sloped  dow^n 
until  sixteen  wide  at  the  point,  which  is  fourteen  inches  from  the  bottom,  saw- 
ing it  out  in  scroll-shape,  as  shown  in  Fig.  7,  which  is  a  miniature  illustration  of 
the  pocket.  These  pieces  are  to  be  rubbed  very  smooth  with  fine  pumice-paper, 
then  polished,  by  varnishing  and  rubbing  off  with  j)umice-stone  and  water, 
as  is  described  in  section  on  varnishing,  etc.  The  surface  must  present  a 
uniform,  highly-polished  finish.  The  next  step  is  to 
decide  upon,  the  figures  to  be  used  in  ornamentation, 
which  is  to  be  entirely  in  black  and  brown,  and  may 
consist  of  regular  figures  or  natural  ornaments,  such 
as  ferns,  leaves,  flowers,  etc.*  Supposing  geometrical 
figures  are  used  on  the  back  and  a  scene  on  the  front 
of  the  pocket ;  then  cut  the  figures  for  the  back  from 
paper,  and  with  pins  fasten  it  securely  in  place,  and, 
with  India  ink,  proceed  as  directed  in  section  on 
Spray-Work.  The  front  of  the  pocket  is  polished  as 
directed,  but  before  the  last  coat  of  varnish  is  per- 
fectly dry,  having  a  landscape  of  suitable  size,  which 
has  been  saturated  with  water  and  patted  in  a  soft 
cloth  to  remove  superfluous  moisture,  it  is  placed 
carefully  in  proper  position  upon  the  sticky  surface. 
Fig.  7.  face  down,  and  patted  over  the  surface  until  it  is 

made  to  adhere  in  every  part.    Then,  moistening  the  finger  slightly,  the  white 
paper  upon  the  back  of  the  engTaving  is  gradually  rubbed  off  over  the  whole 
back.    When  the  first  layer  is  removed,  the  picture  is  allowed  to  dry;  after 
10 


146 


HOUSEHOLD  ELEGANCIES. 


which,  it  is  again  wet,  and  the  remainder  of  the  paper  rubbed  off  until  a  thin 
fihn  alone  remains,  showing  the  engraving  distinctly  impressed  upon  the  light 
background. 

A  thin  coat  of  fine  Demar  varnish  will  make  the  engraving  perfectly  trans- 
;:arent,  when  it  will  appear  as  if  impressed  or  painted  in  India  ink.  After  the 
paper  has  been  removed  from  the  engraving,  if  any  spots  appear  in  the  least  im- 
perfect, they  must  be  "  touched  up  "  with  India 
ink  and  sepia.  A  narrow  border  may  be  cut 
from  paper  and  placed  around  the  outer  edge 
of  the  landscape,  with  a  line  of  \)lack  upon 
each  edge,  and  the  surface,  between  the  lines, 
painted  with  a  small  brush,  in  India  ink. 
Upon  removing  the  papers,  the  designs  re- 
maining in  the  light  color  of  the  wood  must  be 
touched  up  with  India  and  sepia,  to  produce  a 
soft  shading  upon  the  edges,  on  the  veinings  of 
the  leaves,  and  on  the  prominent  parts  of  the 
border.  Small  brass  hinges  are  affixed  to  the 
lower  edge  of  the  pocket,  by  which  it  is  affixed 
to  the  bottom  of  the  back.  One-third  from  the 
top  of  the  front-piece  or  pocket,  rings  are  fas- 
tened upon  each  side,  to  which  a  chain  with 
hooks  is  affixed,  which  passes  round  the  back, 
thus  holding  the  front  in  place.  If  preferred, 
scarlet  morocco,  cut  in  shape  of  Fig.  7,  may  be 
fastened  between  the  back  and  front,  as  shown 
at  Fig  8 ;  the  edges  should  be  pinked  out  or  bound  with  narrow  ribbon. 

WALL-POCKET  FOR  SPONGES,  BPUSHES,  ETC. 

Take  a  piece  of  heavy  pasteboard,  from  which  cut  five  pieces,  as  follows  :  the 
front  ten  inches  long,  five  high  ;•  the  back  fourteen  inches  high,  and  ten  long; 
the  bottom  ten  long,  and  four  deep ;  the  side-pieces  five  feet  high  at  the  front, 
six  at  the  back,  and  four  deep.  Shape  tastefully  by  cutting  curves  in  the  back 
and  front,  and  sloping  the  sides  in  an  arch ;  cover  with  enameled  table  oil-cloth ; 
ornament  with  pictures,  and  finish  with  a  binding  of  galloon  or  ribbon,  and 
leaves  of  brown  paper,  stiffened  with  glue  and  dipped  in  Japan  varnish. 

WALL-POCKET  FOR  LETTERS.— FIG.  8. 

Cut  a  piece  of  card-board  ten  inches  high  and  eight  inches  wide,  for  back ; 
the  pocket  eight  inches  high ;  cut  off  the  corners,  and  slope  both  back  and 
pocket  in  a  graceful  curve,  as  in  diagram. 


HOUSEHOLD  ELEGANCIES. 


147 


Cut  scarlet  or  other  bright  shade  of  merino,  to  fit  both  back  and  pocket,  and 
line  with  colored  muslin. 

Embroider  in  white  floss  or  colored  silks,  a  bouquet  or  other  design  upon 
each;  bind  both  securely  together,  and  finish  with  silk  cords  and  ribbon  bows. 
Place  a  fancy  button  upon  the  top  of  pocket  and  back,  with  loops  of  cord,  and 
suspend  by  ribbons. 

This  pocket  may  be  covered  with  velvet,  and  embroidered  with  beads  or  gold 
or  silver  thread. 


/ 


Fig.  9. 

A  SET  OF  WALL-POCKETS  FOR  TOILET. 

These  are  cut  from  white  Bristol-board,  and  may  be  ornamented-  in  any  one 
of  various  styles ;  water-color  paintings  finish  thSm  beautifully,  and  pictures  in 
Decalcomanie,  or  the  gelatine  pictures,  are  equally  lovely.  They  consist  of  four 
pieces,  viz.,  the  brush  and  comb  case,  catch-all,  sponge-basket,  and  hair-pin 
case. 

The  first  is  made  by  cutting  back,  front,  bottom  and  end  pieces  of  proper 
length  and  width,  to  accommodate  the  brush  and  comb.  The  back  is  cut  in  a 
point,  and  in  the  center  is  ten  inches  high,  curved  downward  to  the  point,  where 
the  ends  meet  it ;  from  this  point  it  is  cut  straight ;  the  front  is  about  five 
inches  high,  and  corresponds  in  shape  with  the  back ;  the  ends  are  also  five 
inches  high  at  the  front,  rising  in  a  curve  another  inch,  where  it  joins  the  back ; 


148 


HOUSEHOLD  ELEGANCIES. 


the  "  catch-all "  corresponds  with  the  above  in  style,  and  is  over  ten  inches  in 
length,  but  wider,  the  bottom  having  the  corners  rounded  off,  which  gives  the 
front  a  rounded  appearance ;  whereas  that  of  the  comb-case  is  straight,  and  the 
front  being  longer  than  the  back,  precludes  the  necessity  of  end-pieces.  These 
are  pinned  around  the  edges,  and  ornamented  with  suitable  pictures  or  paint- 
ings, and  bows  of  ribbon  at  the  points  of  connection.  The  lower  part  of  brush- 
case  should  be  lined  with  enameled  table  oil-cloth.  The  sponge-basket  is 
made  of  a  bottom,  cut  in  shape  of  a  half-circle,  lined  with  the  oil-cloth;  to 
which  are  attached  six  pieces  cut  in  shape  of  oblong  pentagons,  lined  with  oil- 
cloth, and  pinned  around,  excepting  the  ends,  which  are  sewed  to  the  bottom. 

The  back  is  formed  like  the  other  cases,  the  lower  part  as  high  as  the  front 
pieces,  five  inches,  lined  with  oil-cloth.  A  picture  upon  the  front  of  back,  and 
one  on  each  section  of  basket,  completes  it.  The  parts  in  each  are  sewed 
together  firmly  and  bound  with  gilt  paper  pasted  over  the  stitches. 

The  hair-pin  case  is  a  cluster  of  cornucopias,  pinked  around ^tho  edges,  and 
ornamented  with  pictures  to  correspond  with  the  other  articles  ;.  bright  ribbon 
bows  ornament  each,  and  all  of  them  fastened  on  where  fancy  dictates,  and  at- 
tached as  suspension  loops.  This  set  is  not  only  a  tasteful  but  most  useful  ad- 
dition to  a  toilet  table. 

The  various  articles  may  be  covered  with  brown  paper  and  leaves  of  the  same 
arranged  as  a  border,  and  clustered  in  the  center  spaces  in  form  of  flowers  ;  then 
varnish  with  Copal.  This  may  not  form  as  chaste  and  delicate  a  set,  but  will  be 
found  more  durable. 

Fig.  14  is  a  wall-pocket  suitable  for  either  toilet  or  parlor  use,  made  out  of 
fancy  card-board,  and  ornamented  either  with  spatter-work  and  Decalcomanie. 
The  specimen  shown  in  the  illustration  is  done  in  Photophanie  work,  which  con- 
sists in  pricking  patterns  with  a  pin  or  needle  through  the  card,  and  the  raised, 
pointed  edge  in  front,  together  with  the  perforation  of  the  holes,  make  a  fancy 
effect.  The  center  of  oval  front  is  ornamented  with  flowers  in  Decalcomanie. 
This  can  be  used  also  for  a  portfolio  on  the  table. 

BED-POCKET.— EMBEOIDEEY  OF  COED-STITCH. 

Materials  :  Gray  linen,  black  i)raid  three-fifths  of  an  inch  wide,  black  and  yel- 
low floss  silk,  a  bar  of  wood,  carved  and  varnished  brown,  ten  inches  long,  one 
and  one-fifth  inches  wide,  provided  with  two  small  yellow  hooks. 

This  pocket  is  as  serviceable  as  it  is  ornamental,  in  a  bed-room.  It  is  provided 
with  small  pockets  to  contain  handkerchief,  flask  and  the  like,  and  two  hooks 
on  which  to  hang  a  bunch  of  keyes  and  watch.  On  the  pattern  for  the  various 
parts  of  the  pocket,  half  of  the  design  for  the  embroidery  is  represented.  Fig. 
10  shows  full  size ;  a  center-piece  of  the  embroidery,  and  the  decoration  on  the 
braid  which  binds  the  upper  edges  of  all  the  pockets.  The  embroidery  is  exe- 
cuted with  back-stitches  of  black  silk,  wound  about  with  yellow  silk ;  the  veins 


HOUSEHOLD  ELEGANCIES. 


149 


of  the  leaves  are  yellow,  as  are  also  the  cross-stitches  on  the  binding.  The  side 
pockets  are  set  on  in  connection  with  soufflels,  pieces  of  linen  four  inches  long, 
and  two  inches  wide.  The  upper  edges  of  the  soufilets  and  middle  pocket  are 
bound  with  one  piece  of  braid.    A  whalebone,  covered  with  linen  and  fastened 


Fig.  10.   Embroidered  Wall-Pocket, 
at  the  back  of  the  pocket,  reaching  from  one  side  pocket  to  the  other,  gives  the 
back  part  firmness.    Three  loops  of  braid,  decorated  with  cross-stitches  of  yel- 
low silk,  affixed  to  the  back  part,  connect  it  with  the  bar  of  wood. 

WALL-POCKET  FOE,  LETTERS,  CARDS,  ETC. 

Take  a  piece  of  white  card-board,  or  better  still,  the  lid  of  a  large  handkerchief- 
box,  with  handsome  plate ;  cut  a  piece  of  card-board  of  same  width  and  half 
again  as  high  ;  fasten  together  at  bottom  with  muslin  hinge,  and  pink  entirely 
around,  perforating  each  scallop  with  one  or  more  holes.  Make  end-pieces  of 
silk  or  reps,  with  elastic  let  into  a  shirred  ruffle  at  the  top  and  plaited  closely  at 
bottom.  Obtain  four  of  the  pretty  card-chromos  of  flowers  or  views,  which 
pink  entirely  around,  and  making  perforations  at  each  side,  tie  them  with  bows 
of  bright-colored  ribbons  to  each  side  of  top  and  front  of  pocket  for  the  recep- 
tion of  cards  ;  suspend  by  broad  ribbons  that  match  the  bows. 

WALL-POCKET  FOR  DUSTERS,  ETC. 

Take  a  piece  of  heavy  pasteboard,  eight  inches  high  and  ten  inches  long, 
which  cover  neatly  with  brown  linen,  pasting  colored  paper-cambric  upon  the 
wrong  side  ;  cover  another  strip  of  the  pasteboard,  three  inches  longer  and  seven 
inches  high,  with  the  linen,  embroidered  with  scarlet  thread.    Make  a  bag 


150 


HOUSEHOLD  ELEGANCIES. 


a  half  yard  long,  and  sufficiently  wide  to  be  gathered  with  a  shirred  ruffle 
around  the  case ;  gather  at  the  bottom,  closely,  and  finish  with  a  long  scar- 
let tassel  made  of  zephyr ;  sew  heavy,  scarlet  woollen  cord  around  the  case  with 
tassels  at  each  corner,  and  cord  and  tassels  fastened  at  each  end  for  suspension. 

WALL-POCKET.— WITH  A  SMALL  IRONING-BOAKD. 

Materials  :  Gray  linen,  whits  flannel,  red  worsted,  medimn-sized  cord,  worsted 
braid  one  and  one-fifth  inches  wide ;  red  zephyr  worsted,  and  silk.  A  board,  four- 
fifths  of  an  inch  thick,  twenty  inches  long  and  eight  inches  wide.  This  pocket  is 
exceedingly  handy  in  a  bed  or  dressing  room,  as  it  contains  a  little  ironing-board 
on  which  little  things,  such  as  collars,  cuffs,  ribbons,  etc.,  may  be  ironed.  A 

small  pocket  at  the  top  contains  an  iron- 
holder.  Our  model  requires  three  pieces 
of  linen,  eleven  and  one-fifth  inches  wide, 
the  one  for  the  back  part  twenty-four  and 
two-fifths  inches  high ;  that  for  the  large 
pocket  twenty  inches  high ;  that  for  the 
small  pocket  seven  and  threa-fifths  inches 
high.  The  upper  corners  of  the  back  part 
and  small  pocket  are  slanted  off,  begin- 
ning at  a  distance  of  four  inches  from  the 
top,  and  leaving  it  six  inches  wide.  Both 
pockets  are  rounded  at  the  top  into  a  deep 
scallop,  bound  witli  braid,  and  edged  with 
a  ruching  of  braid.  They  are  further 
braided  with  soutache,  in  the  manner  rep- 
resented in  the  engraving.  The  small 
pocket  is  sewed  to  the  back  part  first,  and 
then  the  long  one ;  the  whole  is  then 
bound  all  around  with  braid,  and  deco- 
rated by  a  ruching  of  braid.  Two  loops 
of  red  cord,  each  one  inch  long,  are  fas- 
tened to  each  corner  of  the  top,  and  serve 
to  hang  the  pocket  up.  Fig.  11  represents 
the  ironing-board,  and  shows  the  manner 
in  which  a  flannel  cover,  twenty-two  and 
two-fifths  inches  long,  ten  and  two-fifths 
inches  wide,  scalloped  all  round  with  red 

Fig.  11.   Wall-Pocket  with  a  Small  Ironing  ^.Qrgted  in  button-hole  stitch,  is  tied  to 
Board. 

the  board.  The  iron-holder  consists  of  a  bag,  five  and  three-fiftlis  inches  long, 
and  four  and  two-fifths  inches  wide,  stuffed  with  batting,  and  covered  by  a 
piece  of  flannel,  scalloped  all  round  with  red  worsted  ;  the  flannel  must  be  cut 


HOUSEHOLD  ELEGANCIES. 


151 


three-fifths  of  an  inch  wider  than  the  holder  all  around,  and  fastened  to  it  with 
fine,  invisible  stitches. 

BASKET  WITH  LAMBEEQUIN. 

Colored  embroidery  materials.  Green  and  white  cloth,  black,  green,  blue,  red, 
yellow,  purple,  and  brown  twist-silk,  and  silk  braid,  two  silk  tassels,  green 
ribbon,  one  inch  wide.  The  basket  is  braided  of  shavings,  and  the  three  lam- 
brequins are  constructed  of  green  and  white  cloth  in  the  manner  indicated  in 


Fig.  12.   Basket  with  Lambrequin. 

Fig.  12.  The  bouquet  on  the  center-piece  of  white  cloth  is  worked  in  the  follow- 
ing manner  :  the  flowers  variously  of  blue,  purple,  yellow  and  red  silk,  the  leaves 
of  green,  and  the  stems  of  brown  silk.  Surround  with  green,  pinked  cloth  and 
then  decorate  the  latter  with  the  embroidery,  consisting  of  green  star  braid, 
edged  with  black  button-hole  stitches ;  green  button-hole-stitch  leaves,  with  black 
veins ;  black  arabesques,  green  knots,  dots,  and  stars.  Tassels,  one  inch  long, 
made  of  green  and  white  strips  of  cloth,  and  attached  to  silk  cord,  and  bows  of 


152 


HOUSEHOLD  ELEGANCIES. 


green  ribbon  decorate  each  end  of  the  basket ;  and  the  lambrequin  is  finished  off 
by  a  ruching  of  green  ribbon  crossed  at  its  center  by  a  knotted  green  satin  fold. 
The  cord  and  tassels  for  hanging  up  the  basket  are  attached  to  it,  with  green 
ribbon  bows,  and  decorated  at  the  top  with  a  green  bow,  beneath  which  the  tas- 
sels hang. 

VISITING-CAED  POCKET.— FEET-SAW  WOEK  AND  OEIEN- 
TAL  EMBEOIDEEY.— FIG.  13. 

Materials  :  Red  merino,  white,  black,  blue,  green,  brown,  and  yellow  twist  silk ; 
fine  gold  cord,  green  silk,  nine  green  crochet  buttons,  oblong  steel  spangles, 
crinoline,  red  moire  paper,  one  brass  ring,  thick  gum. 


Fig.  13.   Visiting-card  Poclset. 


Our  model  is  a  pretty  wall-ornament ;  a  frame  of  fret-saw  work  surrounding 
a  rich  Oriental  embroidery  on  a  scarlet  ground.  We  cannot  here  explain  to 
our  readers  how  to  use  the  fret-saw;  we  give  the  design  of  the  frame  very 
clearly,  but  our  task  is  only  to  describe  what  belongs  in  a  lady's  department  — 
the  execution  of  the  embroidery.    The  frame  of  the  pocket  consists  of  two  parts 


HOUSEHOLD  ELEGANCIES. 


153 


of  wood,  the  front  wall,  and  the  rear.  Both  figures  show  the  design  for  the 
fret-saw  work  and  for  the  embroidery.  Steel  buttons  and  spangles  are  used 
for  decorating  the  white-wood  frame.  The  embroidery  is  worked  on  a  ground 
of  scarlet  merino.  The  middle  star  of  the  design  is  blue ;  the  single  scallops 
cround  it  gold,  and  it  is  filled  in  with  white  and  gold  knots.  The  other  stars 
are  worked  alternately  white  and  blue,  black  and  yellow,  blue  and  gold.  The 
leaves  are  worked  in  turn,  green,  white,  and  brown;  the  veins  of  gold.  The 
squares  are  of  gold.  The  embroidered  parts,  when  completed,  are  lined  with 
crinoline  and  red  moire  paper,  by  means  of  pasting,  and  then  pasted  at  the 
back  of  the  wooden  frames ;  the  paper  being  cut  exactly  the  size  of  the  latter. 
Both  parts  are  connected  at  the  bottom  by  means  of  a  strip  of  card-board, 
one  and  one-fifth  inches  wide,  covered  with  green  silk,  and  on  the  sides  by 
green  silk  bellows,  and  fitted  together  at  the  corresponding  letters.  T^e  inside 
of  the  pocket  is  finished  off  with  a  piece  of  card-board,  covered  with  green 
silk ;  thus  hiding  the  place  where  the  bellows  and  the  strip  at  the  bottom  are 
affixed.  At  the  back  the  card-board  lining  is  finished  off  at  the  top  by  green 
crochet-buttons.  A  brass  ring,  attached  at  the  top  of  the  back  wall,  by  means 
of  a  piece  of  ribbon,  an  inch  long,  serves  to  hang  up  the  pocket. 

WALL-POCKET  FOR  KITCHEN.  *  ' 

Every  housekeeper  knows  how  necessary  it  is,  at  certain  times,  to  know  where 
to  obtain  various  articles  required  in  a  hurried  moment,  such  as  string,  holder 
for  iron  or  kettle,  paper,  or  a  towel  or  apron ;  one  or  several  pockets  hung  in 
convenient  place  will  be  found  a  most  comfortable  addition  to  a  kitchen. 

The  best  foundation  for  these  pockets  is  stiff  floor  oil-cloth,  which  cut  a  half 
yard  long  and  twelve  inches  wide,  rounding  off  the  lower  corners ;  cut  to  fit  this 
a  piece  of  bed-ticking  or  brown  crash,  and  a  lining  for  back  of  calico ;  cut,  also, 
a  second  piece  of  the  outside,  material  rather  larger  than  the  foundation. 
Work  the  ticking  upon  the  white  stripe  with  gay  zephyi*  in  polka-stitch.  Sew 
the  back  and  lining  together,  hemming  the  bottom,  in  order  to  slip  it  off  and 
on  for  washing  when  soiled ;  furnish  with  buttons  and  button-holes,  and  sew 
the  pocket,  held  loosely,  to  the  outside  piece.  Then  finish  with  a  piece  cut  in 
scallops  and  worked  in  button-hole  stitch  upon  the  edge.  The  pocket  is  suffi- 
ciently loose  to  receive  various  articles,  yet  not  so  much  so  that  it  will  sway 
open ;  if  desired,  a  flap  or  cover  may  be  made  to  fall  over  the  opening,  fastened 
along  the  top. 

If  preferred,  a  series  of  small  pockets,  made  in  this  manner,  may  be  fastened  to  a 
long  strip  of  covered  oil-cloth,  and  each  one  appropriated  to  some  special  purpose. 

If  covered  with  Turkish  toweling  and  trimmed  with  "  Turkey-red  chintz," 
they  may  be  made  to  look  quite  stylish,  and  are  easily  washed.  As  it  is  desir- 
able to  have  such  pockets  held  firmly  without  swaying,  they  should  be  fastened 
to  hooks  by  means  of  short  straps  or  a  little  band  with  button-holes. 


154 


HOUSEHOLD  ELEGANCIES. 


POETFOLIO.  — IN  PHOTOPHANIE. 

Yellowish  card-board,  gold-colored  varnish,  etc.  The  margin  of  this  elegant 
portfolio,  as  well  as  that  of  the  i30cket-cover,  is  decorated  with  photophanie,  d'v 


scribed  in  another  chapter.  The  views,  tendrils,  stems,  and  dots  are  executed 
with  a  fine  brush  and  gold-colored  varnish.  In  our  model,  the  inner  space  of 
the  pocket-cover  is  filled  up,  by  a  bouquet  of  flowers  embroidered  in  bright- 


HOUSEHOLD  ELEGANCIES. 


155 


colored  silk,  or  split  zephyr  on  perforated  card-board.  The  parts  are  best  worked 
separately,  and  then  given  to  the  bookbinder,  who  finishes  them  off  neatly,  and 
provides  them  with  a  narrow  gold  binding. 

BEUSH-CONTAINEE. 

A  very  suitable  place  for  this  pretty  ornament  is  beside  the  wardrobe.  It  is 
carved  of  dark  *v^ood,  and  decorated  with  an  embroidered  medallion.  The  latter, 
in  our  model,  is  of  green  velvet,  with  a  monogram  embroidered  in  gold.  A 
bouquet  of  flowers  also  looks  very  pretty. 

FANCY  WALL-POCKET. 

Fig.  16  represents  a  very  pretty  wall-pocket  of  crimson  cloth  embroidered  with 
fine  jet  beads.  The  body,  made  of  pasteboard,  is  composed  of  three  pieces  :  No. 
1,  the  back,  which  should  be  cut  ten  inches  long  and  five  inches  deep;  sides  and 
bottom  straight;  top  shaped  as  in  illustration:  No.  2,  the  bottom,  a  perfect 


Fig,  15.  Brush -Holder.  Fig.  16. 

half-circle,  ten  inches  across  on  its  straight  edge  :  and  No.  3,  the  front-piece, 
fifteen  inches  long  and  six  inches  deep  in  center ;  shape  same  as  front  in  the  . 
engraving. 


156 


HOUSEHOLD  ELEGANCIES. 


First,  lay  patterns  Nos.  1  and  2  on  the  cloth,  and  with  French  chalk,  trace  the 
outlines  in  order  to  establish  the  line  where  the  embroidery  is  to  go.  After  em- 
broidering, cover  the  pasteboard  forms  on  both  sides  with  cloth ;  overcast  the 
long  straight  edges  of  1  and  2  together ;  then  cover  one  side  of  a  straight  oblong 
piece  of  pasteboard,  fifteen  inches  long  and  three  inches  wide,  with  cloth ;  over- 
cast this  lengthwise  to  the  curve  of  the  bottom  (No.  2),  and  fasten  its  ends  to 
the  back-piece  to  form  ths  pocket.  The  ornamental  front-piece«is  then  put  on 
over  this  narrow  pocket-front,  projecting  above  it,  so  as  to  give  the  shape  seen 
in  illustration  of  finished  wall-pocket,  and  its  curved  lower  edge  is  trimmed 
with  fine  cut-bead  fringe.  Nothing  remains  but  to  hang  the  receiver  by  four 
crimson  cords,  as  shown  in  the  engraving  in  next  column. 

These  articles  are  extremely  pretty  for  Christmas  gifts,  and  the  blended  mon- 
ogram of  giver  and  recipient  can  be  embroidered  in  the  center  of  the  front  piece. 
They  may  be  covered,  embroidered,  and  trimmed  in  any  color  or  style  one's 
taste  may  suggest.  The  cut-bead  trimming  is  named  here,  because,  in  the  first 
place,  it  is  pretty,  and  secondly,  apart  from  that,  it  affords  one  an  opportunity 
of  using  up  the  quantities  of  cast-off  jet  trimmings,  which  most  ladies  now  hold 
as  heavy  souvenirs  of  a  fashion  passed  away. 

WALL-POCKET  IN"  CARD-BOAED  FRET-WORK. 
This  pocket  is  made  by  cutting  card-board  for  the  back,  and  two  strips  along 


Fig.  17.   Wall-Pocket  in  Card-Board  Work. 


HOUSEHOLD  ELEGANCIES. 


157 


tlie  front,  in  slits.  These  strips  are  twenty-one  inches  long  and  three  inches 
wide ;  the  back  seventeen  inches  wide,  by  eight  inches  high,  with  a  bottom  of 
stiff  pasteboard  seventeen  inches  wide,  and  sufficiently  wide  for  the  twenty-one 
inch  bands  to  fit  around  the  front,  after  the  front  corners  are  rounded  off.  Cut 
the  card-board,  with  a  sharp-pointed  knife,  into  twenty  uniform  sections,  and 
bind  each  strip  with  scarlet  ribbon.  A  strip  of  gray  cloth,  two  inches  wide,  must 
be  marked  out  and  braided  with  scarlet  braid  and  gold-color,  as  saddler's  silk, 
in  one  figure,  with  white  floss-silk  chain-stitching  and  steel  beads  on  the  other,  as 
shown  in  the  full-sized  illustration.  A  crocheted  edge  finishes  this  band  which 
is  joined,  in  the  center  of  pocket,  to  the  card-board  strips ;  through  the  lattice- 
work of  the  strips  is  run  scarlet  satin-ribbon,  and  line  the  front,  bottom  and 
back  with  glazed  muslin,  and  sew  the  parts  together.  Finish  the  top  of  back 
with  the  same  fret-work  used  upon  the  front  strips,  running  the  ribbon  through 
in  like  manner.  Finish  with  points  of  hoop-skirt  spring  crocheted  over  with 
scarlet  zephyr,  and  put  on  in  points  as  shown  in  illustration.  Fasten  suspension 
cords  of  scarlet  and  gray  zejDhyr,  with  tassels,  to  the  back.  This  is  an  unusually 
beautiful  pocket,  and  both  easily  and  economically  made. 

WALL-POCKET  FOE  BED. 
Cut  a  tastefully-shaped  piece  of  stiff  pasteboard  eighteen  inches  broad  and 
twenty  inches  high,  rounding  off  the  lower  corners,  and  cutting  a  large  scallop 
out  of  each  side  above,  which  will  form  a  point  in  the  center  and  at  each  end. 
Cover  with  bright-colored  cambric,  pink,  blue  or  green,  lining  the  back  with 
white  muslin.  Cut  a  piece  of  white  pique  to  fit  the  lower  half  of  the  pocket 
after  gathering  in  one-fourth  its  size  ;  also  a  piece  of  the  same,  fitted  in  the 
same  manner  to  the  upper  part,  and  upon  this  arrange  three  small  pockets,  cut 
in  small  half  circular  pieces ;  the  center  one  arranged  as  a  watch-pocket,  with^ 
open  circle  in  the  center.  Ornament  the  edges  of  all  the  pockets  with  full 
quillings  of  the  bright-colored  cambric,  pinked  out  on  each  edge  and  inclosed 
in  the  band,  binding  the  tops  of  the  two  large  pockets  with  a  strip  of  strong 
elastic.  Fasten  the  upper  pocket  to  the  card-board  back,  a  long  the  sides  and 
bottom ;  then  the  lower  pocket,  which  should  extend  two  inches  above  the  upper 
one ;  sew  the  pinked  quilling  around  the  entire  edge,  and  form  suspension  cords 
the  cambric  pinked  out  on  the  edges,  with  bows  of  the  same.  These  pockets  of 
are  very  stylish  hung  upon  each  side  of  a  bed,  for  holding  night-clothes,  watches, 
handkerchief,  necktie,  collar,  or  other  articles  removed  at  night  from  the  person. 
Another  pretty  covering  for  them  is  quilted  cambric,  a  very  thin  layer  of  cotton 
or  sof^flannel  laid  between,  and  quilted  in  diamonds  upon  the  sewing-machine. 

WALL-POCKET.— FIG.  18. 

Materials :  Gray  yarn,  green  woolen  rep,  stout  card-board,  one  small  brass 
ring.  This  wall-pocket,  which  is  a  handy  repository  for  newspapers  and  the 
like,  consists  of  a  back  part  eleven  and  one-fifth  inches  wide,  twelve  inches  high 


158  HOUSEHOLD  ELEGANCIES. 

in  the  center,  and  slanting  towards  the  sides,  where  it  is  nine  inches  high ;  and  a 
front  part  nine  inches  high  and  of  the  same  width  as  the  back.  These  parts  are 
covered  with  green  woolen  rep,  and  the  front  part  is  decorated  with  a  square 


Fig.  18.  "Wall-Pocket  for  Papers, 
tidy,  crocheted  or  tatted  in  some  pretty  design  with  gray  yarn.  At  its  top,  the 
front  part  is  joined  to  the  back  by  a  strap  of  ruched  merino  three  and  one-fifth 
inches  long  and  one  and  three-fifths  inches  wide,  crossed  in  the  center  by  a 
double  cord  of  gray  yarn.  The  lacing  of  gray  cord  at  the  sides  prevents  the  pa- 
pers in  the  pocket  from  falling  out.  Pinked  ruchings  of  merino,  and  gray  yarn 
cord  and  tassels,  arranged  in  the  manner  the  illustration  indicates,  completes 
the  decoration  of  the  pocket.  A  brass  ring  at  the  top  of  the  back  part  seizes  to 
hang  it  up. 


HOUSEHOLD  ELEGANCIES. 


159 


DUSTER-BASKET  WITH  LAMBREQUINS  IN  COLORED 


stitch,  with  gold-color  calyxes,  one  blue,  one  scarlet  and  one  bluish-green  petal ; 
herring-bone  stitches  of  black  silk  connect  the  flowers,  gold  braid  completes  the 
embroidery.  The  smaller  lambrequin  scallops  are  oval  in  shape,  of  fawn- 
colored  cloth,  pinked  all  around ;  they  are  two  and  two-fifths  inches  long,  one 
and  four-fifths  inches  wide  at  the  top ;  they  are  embroidered  with  long  button- 
hole stitches  of  gold-color  silk,  to  represent  an  ear  of  wheat ;  three  long  blu- 
ish-green silk  stitches  along  the  center,  held  together  by  a  cross-stitch,  represent 
the  vein  in  the  center.  Each  scallop  is  finished  off  by  a  tassel,  two  and  two- 
fifth  inches  long,  of  brown,  crimped  silk ;  a  brown  bow  on  the  cover,  and 
brown  ruching  around  the  top  of  the  lambreqnins,  complete  the  decoration. 


EMBROIDERY. 


Fig.  19. 


Materials  :  White  and  fawn- 
colored  cloth,  gold-color,  scar- 
let, blue,  and  blue-green  twist 
silk,  gold  braid,  brown  ribbon 
one  inch  wide,  brown  crimped 
sewing  silk.  This  basket  is  of 
simple  wicker-work,  and  pro- 
vided with  a  cover.  The  lam- 
brequins are  in  two  sizes.  Fig. 
19  represents  the  larger,  full 
size.  It  is  of  white  cloth 
pinked  all  around,  the  Chinese 
flowers  embroidered  in  satin 


CHAPTER  VIII. 


WORK  BOXES  AND  BASKETS. 


A  TASTEFUL  parloT  is  not  completely  finished  until  the  useful  little  work-stand 
is  made,  and  furnished  with  box  and  basket.  Both  these  necessary  accompani- 
ments to  the  corner  devoted  to  the  sewing  machine,  may  be  made  of  various  styles 
and  shapes.  Yery  elegant  articles  of  the  kind  may  be  purchased,  of  course,  but 
as  with  most  elegancies,  the  majority  of  ladies  do  not  possess  the  means  to  in- 
dulge in  expensive  adornments,  even  though  they  be  useful  as  well ;  such  are 
glad  to  be  able  to  fashion  pretty  and  convenient  articles  for  themselves.  Work- 
boxes  may  be  adorned  in  various  ways ;  described  in  the  chapters  on  Fancy 
Painting,  Inlaid  Work,  Rustic  Work,  etc.,  and  can  be  finished  in  a  manner,  at 
once  so  artistic  and  perfect,  that  they  compare  favorably  with  the  most  exquisite 
imported  work.  A  handsome  rustic  box  may  be  made  as  follows  :  Procure  one 
of  the  long  cigar-boxes,  and  loosening  the  edges,  carefully  take  it  entirely  apart ; 
preserve  the  long  pointed  nails,  as  they  will  be  required  in  joining  it  again. 
Cover  each  part  of  th3  outside  with  a  composition  of  beeswax,  tallow  and  rosin ; 
while  sticky,  arrange  upon  the  front  and  end  pieces  clusters  of  the  smaller  nuts, 
such  as  filberts,  chestnuts,  pecans,  etc.,  with  peach  and  plum  stones.  Cut 
card-board  in  shape  of  leaves ;  cover  with  the  cement,  and  arrange  scales  of  pine 
cones,  or  strips  of  bark,  upon  them  to  appear  as  leaves ;  or  these  may  be  made 
■of  leather,  as  directed  in  chapter  on  Leather-Work.  Upon  the  top  of  the  box 
form  a  larger  group  of  nuts,  such  as  the  English  walnuts.  Brazil-nuts,  Buckeyes,  - 
etc.,  making  a  foundation  with  putty,  colored  with  burnt  umber.  Let  the  leaves 
for  this  cluster  be  larger,  and  towards  the  edges  of  the  cluster,  place  the  smaller 
nuts  and  clusters  of  berries,  made  from  cherry-stones,  chinquepins,  or  seed  from 
various  flowers. 

Fasten  the  leaves,  tendrils,  etc.,  so  that  they  will  not  be  loose,  and  catch  in 
surrounding  objects.  Around  the  edge  of  each  piece,  place  a  row  of  the  tops  of 
poppy-seed  pods ;  beyond  these  a  row  of  plum  seeds  halved,  by  being  baked  in  a 
warm  oven.    Within  this  row,  one  again  of  the  poppy ;  fill  in  as  a  ground-work 


HOUSEHOLD  ELEGANCIES. 


161 


with  grains  of  the  small,  purple  pop-corn"  using  those  of  uniform  size,  and 
placing  evenly  in  rows ;  or  the  ground  may  be  made  of  browned  coffee-grains. 
Stiff  glue  will  be  found  necessary  in  fastening  dowh  many  of  the  pieces,  touch- 
ing them  slightly  with  it,  and  laying  a  weight  upon  them  until  dry.  In  the 
corners,  fasten  small  clusters  of  two  or  three  nuts,  halved  or  entire.  AVhen  dry, 
varnish  with  Copal. 

Cut  strips  of  thin  wood,  one-sixth  inch  deep,  to  extend  around  the  ends  and 
front  of  the  lid ;  fastening  it  firmly,  first  with  glue,  and  then  by  passing  thin 
"  wire-nails  "  through  into  the  lid ;  around  the  outer  edge  of  the  lid  fasten  a 
beading  of  coffee-grains,  which  will  extend  beyond  this  strip.  These  narrow 
pieces  upon  the  inner  edge  of  the  lid,  must  be  on  the  inside  of  the  box  when 
closed.  Upon  the  inner  side  of  the  hd,  within  this  rebate,  place  a  piece  of  mir- 
ror or  a  tasteful  picture,  fastening  with  a  narrow  strip  of  card  glued  against  the 
rebate,  and  covered  with  narrow  gilt  paper ;  line  the  bottom,  sides  and  ends  with 
velvet,  touching  the  edges  with  glue ;  and  fasten  the  pieces  together  with  glue 
and  the  nails  previously  extracted.  Make  proper  divisions  for  the  various  arti- 
cles, by  covering  thin  strips  of  wood  or  pasteboard  with  the  velvet,  and  fastening 
in  with  glue  upon  the  edges.  The  cards  of  thin  wood,  upon  which  lace,  cord, 
etc.,  are  rolled,  are  appropriate  for  this  purpose.  Needle-book,  pin-cushion, 
thimble-case,  scissors-sheath,  emery-basket,  cards  for  silk,  etc.,  case  for  yard 
measure  and  a  little  fancy  basket  for  "  trifles,"  should  be  tastefully  made,  and 
arranged  on  the  inside.  The  lid  may  be  fastened  on  with  little  brass  hinges,  or 
a  strip  of  strong  cotton  covered  with  velvet,  may  be  glued,  first  to  the  lid,  and 
then  to  the  back,  previous  to  putting  on  the  lining.  Three  small  round  nuts, 
with  a  larger  one  in  the  center,  must  be  fastened  to  each  corner,  and  will  form 
pretty  feet.  When  neatly  finished,  this  is  a  handsome  box,  and  has  been  mis- 
taken for  carved  wood. 

Another  elegant  box  is  made  of  one  of  the  plain  pine  boxes,  to  be  obtained  at 
any  drug  store.  This  is  rubbed  smooth  with  sand-paper,  then  varnished,  and 
when  perfectly  dry,  rubbed  off  again  with  fine  emery-paper ;  then,  re-varnished 
with  black  Japan  varnish,  dried  and  rubbed  smooth  again  with  rotten  stone  and 
turpentine,  with  a  hard  pad,  made  of  a  roll  of  flannel.  This  rubbing  and  var- 
nishing is  continued  until  the  surface  is  as  smooth  as  possible ;  wash  perfectly 
clean  after  each  rubbing,  that  no  particles  of  sand  remain.  The  last  rubbing  is 
performed  with  a  clean  flannel  pad,  dipped  in  clear  water  and  then  in  finely- 
powdered  pumice-stone ;  when  finished,  the  surface  must  be  as  black  and  pol- 
ished as  the  finest  and  hardest  piece  of  papier-mache.  This  done,  a  design  is 
drawn  upon  paper  pricked  upon  the  outlines  with  a  pin,  and  held  in  position ; 
finely-powdered  plaster  is  dusted  upon  it,  which  leaves  a  white  outline  upon  the 
black  surface ;  which  is  made  more  permanent  by  being  gone  over  lightly  with 
a  white  crayon.  The  design  is  th3n  painted  with  sealing-w^ax  paint,  in  a  scroll 
design,  similar  to  Fig.  1,  for  tha  front,  which  is  one-half  the  design.  A  num- 
11 


162 


HOUSEHOLD  ELEGANCIES. 


ber  of  wide-mouthed  bottles  are  procured ;  those  used  by  druggists  are  admira- 
bly adaj)ted  to  this  purpose ;  these  are  partially  filled  with  various-colored  seal- 
ing-wax, aud  sufficient  "  ninety-five  per  cent,  alcohol "  added  to  dissolve  these ; 
a  small  brush  should  be  used  for  each  color.  The  stiff-bristle  brushes,  made  of 
fine,  flexible  bristles,  should  be  used  for  this  style  of  painting ;  and  by  shading 
and  arranging  the  colors  with  taste,  this  work  may  be  made  to  resemble  enam- 
eled work.  Pieces  of  pearl,  gold  and  silver  foil,  and  bronze,  are  all  beautiful 
additions,  and  may  be  applied  as  described  in  the  respective  chapters  on  Gild- 
ing, etc. 

The  inside  of  this  box  has  a  case  made  to  fit  the  lower  half.  The  four  sides 
are  covered  with  light  blue  silk,  sewed  together,  and  then  to  the  bottom,  which 
is  covered  in  a  similar  manner ;  this  is  then  fitted  into  the  bottom  of  the  wooden 
box,  forming  a  ledge  upon  which  to  rest  the  tray,  though  when  made  of  card,  it 


Fig.  1.   Decoration  for  Cover  of  Work-Box. 


will  be  better  to  fasten  a  narrow  ledge  of  wood  above  this  case ;  it  may  be  painted 
or  covered  with  velvet  or  silk.  The  upper  tray  must  be  made  of  strips  cut  to 
fit  within  the  box  above  the  aforesaid  ledge,  lined  neatly  with  silk  and  divided 
into  various  compartments.  The  various  "  knick-knacks  "  suitable  for  ladies' 
work.  Directly  in  the  center,  make  a  case  with  loose  lid  to  be  lifted  by  a  rib- 
bon ;  upon  the  top  of  this  lid,  form  loops  of  ribbon  in  which  to  place  the  bodkin, 
stiletto,  knife,  etc.  A  neat  case  for  the  thimble  is  made  by  covering  a  strip  of 
card  with  velvet  and  sewing  the  ends  together,  leaving  the  velvet  rather  longer 
than  the  card ;  gather  together  at  the  bottom,  and  sew  into  a  box  with  circular 
hole  cut  in  the  center,  hiding  the  stitches  with  narrow  silk  chenille. 

The  lid  is  finished  upon  the  surface  like  the  sides,  painting  similar  flowers 
and  scrolls  in  the  corners  ;  upon  the  center,  as  a  handle  W'herewith  to  raise  it, 
fasten  a  group  of  nuts,  painted  and  gilded  similarly  to  the  other  w^ork. 


HOUSEHOLD  ELEGANCIES. 


163 


Tack  a  rebate  around  the  front  and  ends  of  the  under  side,  finishing  in  black 
enameled  painting.  Place  a  mirror  within  this  rebate,  fastening  it  in  with 
strips  of  painted  or  gilded  wood. 

Another  beautiful  mode  of  ornamenting  such  a  box  is  by  painting  groups  of 
flowers  upon  white  satin ;  two  for  the  front,  one  upon  each  side  of  the  key-hole, 
one  for  the  top,  and  one  for  each  side  ;  fasten  them  by  gluing  along  the  edges ; 
cut  card-board  to  fit  each  piece  of  the  box,  cutting  out  recesses  for  the  satin  in 
scroll  shapes,  binding  the  edges  with  gilt  paper  pasted  neatly  around,  after  cov- 
ering with  black  or  purple  velvet  or  bronzed  paper  or  morocco.  A  complete 
case  is  thus  formed  for  the  box,  which  placed  over  and  fastened  with  glue, 
frames  the  pictures  upon  the  satin,  and  has  a  beautiful  effect.  The  lid  must 
have  an  edge  formed  around  it  with  the  card,  which  will  cover  the  edge  of  the 
board,  as  it  is  of  heavy  wood.    The  interior  is  finished  as  the  former. 

Still  another  tasteful  mode  is  by  covering  with  shells.  A  layer  of  putty  is 
first  applied,  then  the  shells,  arranging  them  in  tasteful  groups,  or  forming  into 
flowers.  In  forming  roses,  tiny  dolls'  heads  placed  in  the  center  form  a  beauti- 
ful addition.  The  shells  may  be  colored  with  water-colors,  if  desired.  After 
fastening  on  the  flowers  and  large  shells,  the  ground-work  is  formed  of  small 
rice-shells.  Small  work-boxes,  suitable  for  the  sewing-machine,  may  be  made 
of  the  common  oblong  cigar-boxes,  which  can  be  covered  with  paper  or  chintz, 
lined  and  arranged  to  hold  the  various  spools,  bobbins,  gauges,  etc.,  used  daily. 
The  machines  not  furnished  with  tops,  and  consequently  devoid  of  drawers  or 
cases,  may  have  such  boxes  arranged  and  fastened  upon  the  table,  and  thus  save 
many  a  long  search  for  missing  articles. 

WOEK-BASKET. 
Wicker-baskets  of  all  kinds  have  become  so  popular  and  cheap,  withal,  during 
the  past  few  years,  that  almost  every  house  is  furnished  with  its  work-basket, 
more  or  less  tasteful.  Yet  there  are  some,  perhaps,  who  may  be  glad  to  own  a 
tasteful,  home-made  article,  and  to  such  the  following  directions  may  be  of  some 
value,  if  merely  as  a  guide. 

BASKETS. 

For  the  foundation,  cut  out  an  octagonal  piece  of  heavy  pasteboard,  for  the  bot- 
tom, ten  inches  in  diameter,  and  eight  pieces  seven  inches  high,  three  inches 
wide  at  the  bottom,  fitting  each  section  of  the  bottom,  and  sloped  out  to  seven 
at  the  top,  rounding  off  the  upper  corners.  Cover  all  with  bright  glazed  chintz, 
buff,  blue  or  pink,  and  sew  neatly  together.  ]\Iake  a  pocket  for  the  upper  part 
of  each  section,  cutting  the  material  wider  than  the  section  to  which  it  is  to  be 
sewed,  in  order  to  gather  it  in. 

STANDING  WORK-BASKET. 
For  the  bottom  of  this  basket,  which  is  shown  in  Fig.  2,  we  have  used  an  or- 


164 


HOUSEHOLD  ELEGANCIES. 


dinary  cheese-box,"  fourteen  inches  in  diameter ;  and  this  will  be  found  to 
answer  as  well  as  a  more  elegant  article.  Line  this  box  neatly  as  a  receptacle 
for  various  articles,  such  as  rolls  of  "  pieces,"  trimmings,  etc.  Upon  the  lid 
make  a  cushion,  stuffed  with  wool  or  hair,  and  upholstered  with  merino,  vel- 
veteen, or  other  suitable  material,  fastening  down  in  diamonds,  with  fancy  but- 
tons. Next  form  the  uprights  with  "skirt- 
springs,"  retaining  the  cover,  sewing  five  of 
them  together.  The  two  side-pieces  are  suffi- 
ciently long  to  reach  from,  one  to  the  other,  as 
shown  in  the  illustration,  forming  an  arch  be- 
tween each  two,  and  are  painted  buff ;  while 
the  center  one  is  carried  to  the  top  of  the  bas- 
ket, and  must  be  three  and  a  half  feet  in  length, 
painted  black ;  the  two  pieces  betw^een  these 
are  crossed  over  each  other,  and  bound  to  the 
black  central  strand,  with  fine  flexible  wire ; 
then  turned  upward,  and  continued  upward 
along  with  the  black  one.  The  arrangement 
of  these  strands  will  be  plainly  seen  by  the  il- 
lustration. Gather  them  closely  together  a  few 
inches  above  the  point,  where  the  inner  strands 
are  bound,  and  fasten  closely  together  with 
strong,  flexible  wire,  covering  with  a  band  of 
the  "hoop-spring,"  neatly  painted,  and  wound 
closely  round.  Strong,  firm  hoops  are  required 
both  at  the  top  and  bottom  of  the  basket,  cov- 
ering theni  with  any  bright-colored  material ; 
scarlet  or  blue  look  well  in  contrast  with  the 
buff  and  black  case.  The  lower  one,  fourteen 
inches  in  diameter,  is  fastened  to  the  hoop- 
springs  above  the  point  of  junction,  from  which 
the  side-pieces  are  crossed,  and  the  center  one 
carried  straight  up;  here  the  hoop  is  fastened  ; 
and  the  wire,  side  by  side,  carried  up  four 
inches,  bound  together,  and  the  side  ones  taken 
and  fastened  in  a  point  to  the  upper  hoop ;  the 
black  center  one  also  fastened  to  it,  midway  between  each  point ;  then  the  three 
cut  off  closely,  and  the  edge  finished  with  a  thick  cord  of  silk  or  wool.  The 
basket  is  made  of  a  circular  box,  covered  with  a  bright  shade  of  merino,  or 
tastefully  painted  or  papered ;  then  lined  and  furnished.  The  lid  is  ornamented 
with  a  square  of  the  merino,  scalloped  around  the  edge,  and  a  bouquet  of 
crocheted  flowers  fastened  on  the  center.    The  handle  consists  of  five  strands  of 


Lady's  Work-Basket. 


HOUSEHOLD  ELEGANCIES. 


165 


"  hoop-spring,"  corresponding  with  the  cfise  ;  woolen  cords  and  balls  are  looped 
and  knotted  to  each  upright,  around  the  basket. 

Care  must  be  taken  to  bend  the  wires  into  proper  shape,  and  to  facilitate 
this,  the  central  strand  may  be  of  heavy  wire,  if  preferred,  which  is  more  easily 
bent  into  shape  than  the  stiff  "  hoop-springs."  The  painted  work  must  all  be 
neatly  varnished. 

STANDING  WORK-BASKET. 

For  this  basket,  Fig.  3,  take  four  lengtlis  of  "hoop-springs,"  and  two  of  strong, 
heavy  wire  (or  three  canes  may  be  substituted,  if  desired)  four  feet  long ;  sew 
the  "  springs  "  together  two  and  two,  and  the  wire  between  them,  using  strong 
thread,  and  sewing  closely.  In  the 
same  manner  make  connecting 
pieces  for  the  feet,  sixteen  inches 
long,  binding  them  securely  to  the 
lower  part,  and  bending  the  legs 
and  these  connections  into  proper 
form  as  shown  in  the  illustration. 
Six  inches  from  the  bottom,  restiiig 
on  the  connecting  arched  pieces, 
the  lower  basket  is  placed.  These 
baskets  are  made  of  heavy  paste- 
board, richly  ornamented  with  en- 
ameled paper  and  pictures,  or  cov- 
ered with  velvet  or  muslin,  elegantly 
embroidered.  This  lower  one  is 
lined  with  quilted  silk,  and  finished 
with  cord  and  loops. 

The  stiff  wire  feet  are  then  contin- 
ued up  the  center  of  the  stand  to  the 
top,  where  a  strong  hoop  holds  them 
in  place,  and  upon  which  the  upper 
basket  is  fastened.  A  long  strand 
of  "  hoop-spring"  is  sewed  round  this 
covered  hoop,  and  bent  into  loops 
two  inches  apart.  This  basket  is 
furnished  with  a  lid,  with  embroid- 
ered or  ornamental  top,  and  neatly 
lined  with  silk,  and  arranged  with 
all  the  paraphernalia  of  a  lady's 
work-basket.  A  number  of  tassels 
with  cords,  are  festooned  around 


Standing  Work-Basket. 


166 


HOUSEHOLD  ELEGANCIES. 


the  lower  part,  and  knotted  through  the  wire  loops  ;  also  fastened  in  the  orna- 
mental rings  upon  the  four  corners  of  the  uprights. 

WOEK-BASKET  WITH  STAND.  — FIG.  4. 

Use  gray  linen,  five  yards  of  red  worsted  braid,  one  and  one-fifth  inches  wide  ; 
four  yards  of  red  worsted  soutache,  three-fifths  of  an  inch  wide  ;  red  thread, 
coarse  brass  wire,  pasteboard,  etc.  The  frame  of  the  basket,  which  rests  in  a 
stand  of  simple  wicker-work,  is  constructed  of  wire.    Of  the  three  rings  of 

wire,  the  one  for  the  bottom  is  eight 
inches  round,  the  middle  one  thirty-two  and 
four-fifths  inches,  the  top  one  nineteen 
and  one-fifth  inches.  The  three  length- 
wise rods  that  connect  the  rings  to  each 
other,  are  each  ten  inches  long.  All  these 
parts  are  soldered  together.  Fill  up  the 
smallest  ring  with  a  circle  of  pasteboard, 
taken  double,  of  corresponding  size,  cov- 
ered on  each  side  with  gray  linen ;  then 
cover  the  whole  frame  with  a  piece  of 
linen  thirty-three  and  one-fifth  inches 
wide,  and  ten  and  two-fifths  inches  long ; 
sewed  together,  gathered  in  at  the  top  and 
bottom,  and  bound  with  red  worsted  braid, 
where  it  is  attached  to  the  rings.  The 
upper  half  of  the  basket  is  decorated  with 
three  somewhat  raised  pockets  of  linen, 
rounded  at  the  bottom,  four  and  three- 
fifths  inches  long,  and  three  and  three- 
fifths  inches  wide ;  decorated  in  the  center 
with  an  arabesque,  braided  of  red 
worsted  soutache,  and  bound  all  around 
with  red  woolen  braid.  The  spaces  between 
the  pockets  are  adorned  with  bows  of  red 
braid.  The  cover  of  the  basket  is  cut  of 
card-board,  to  fit  exactly  into  the  top  ring, 
and  covered  with  a  piece  of  gray  linen, 
passing  smoothly  over  the  inner  side,  and 
gathered  in  at  the  middle  of  the  outer  side,  where  the  gathers  are  covered 
by  a  circular  piece  of  gray  linen,  one  and  three-fifths  inches  in  diameter,  edged 
with  a  ruching  of  scarlet  braid.  The  cover  is  fastened  to  the  basket  with 
hinges  of  soutache ;  the  means  of  fastening  consist  of  a  loop  of  soutache,  and 
a  hook.    The  basket  is  decorated  with  ruchings  of  scarlet  braid  in  the  manner 


Wicker-Basket. 


HOUSEHOLD  ELEGANCIES. 


167 


the  illustration  indicates.  The  ruching  for  the  bottom  is  sewed  to  a  steel 
spring,  ten  and  four-fifths  inches  long,  closed  to  a  ring,  and  covered  with  gray 
linen. 

WOEK-STAND. 

For  materials,  use  green  satin,  four  green  chenille  tassels,  each  four  and  two- 
fifths  inches  long.  This  stand,  which  is  twenty-eight  inches  high,  is  constructed 
of  cane,  stained  black  and  yellow,  and  contains  two  baskets,  each  twelve  inches 


Fig.  5.  Work-Stand. 

square  and  four  inches  deep.  The  upper  basket  is  provided  with  a  cover,  fas- 
tened on  with  hinges.  Quilled  satin  lining,  and  the  same  color  silk  cord,  and 
chenille  tassels  complete  the  decoration  of  the  baskets.  An  embroidered  mon- 
ogram and  medallion,  arranged  in  the  manher  the  illustration  indicates,  make 
it  very  suitable  as  a  gift  to  present  to  a  friend. 

NEGLIGE  BASKET. 
A  woven  wicker-basket,  oval  in  shape,  about  fifty-four  inches  wide  at  the  top, 
is  provided  inside  and  out  with  a  thin  layer  of  batting ;  over  this,  draw  some 


168 


HOUSEHOLD  ELEGANCIES. 


bright-colored  lining,  and  over  the  latter  smoothly,  with  sprigged  Swiss  muslin ; 
where  this  is  sewed  on,  cover  with  a  narrow  insertion,  run  through  with  satin 
ribbon.  The  hollow  pockets  at  the  sides  of  the  basket,  are  made  of  colored 
muslin,  lined  with  stiff  crinoline,  and  covered  with  a  puffing  of  sprigged  Swiss 


Fig.  6.   Neglige  Basket. 


muslin ;  they  are  finished  off  at  the  top  by  plaited  lace,  about  one  and  two-fifths 
inches  wide,  and  narrow  insertion  run  through  with  satin  ribbon.  The  outer 
decoration  of  our  model  consists  of  a  five-inches-deep  flounce  of  tulle  garnishad 
with  applique,  and  lace,  one  and  three-fifths  inches  deep.  Rings  wound  about 
with  colored  ribbon  do  duty  as  handles ;  a  ruching  of  satin  ribbon,  one  and  one- 
half  inches  wide,  and  bows  of  narrow  and  wide  satin  ribbon,  comf)lete  the  basket. 

BASKET  WITH  LAMBREQUIN. 

Materials  :  For  the  foundation,  black ;  and  for  the  applications,  light  blue  and 
red  cloth ;  white,  golden,  yellow,  dark  red,  light  blue,  purple,  black,  and  two 
shades  of  green  floss-silk,  which  is  to  be  taken  double.  This  elegant  basket  is 
of  brown  varnished  wicker-work,  ornamented  with  yellow  cane.  The  lambre- 
quin is  embroidered  in  oriental  style,  with  chain,  long,  and  knotted  stitches, 
and  the  applications,  light  blue  side-stripes  and  red  center-piece,  are  fastened  to 
the  black  ground  by  w^hite  chain-stitches  close  to  the  margin.  The  three  single 
figures  on  the  side-sfcripes  are  surrounded  by  golden  yellow  arabesques  edged 
with  whits,  and  the  long  stitches  within  them  are  of  red,  while  the  elongated 
branch  and  the  five  long  stitches  at  the  top,  are  black.  A  row  of  light  blue 
chain-stitches  marks  the  lower  edge  of  the  lambrequin  between  the  stripes,  and 
borders  and  crosses  the  red  application,  which,  in  its  four  curves,  is  embroidered 
alternately  with  black  and  white,  and  black  and  green  long  stitches,  and  in  its 
center  with  black  and  yellows  The  interlaced  ring  below  the  application  is  of 
yellow,  with  pui-ple  knots,  and  the  center  star  is  of  red  and  white.    All  the 


HOUSEHOLD  ELEGANCIES. 


169 


arabesques  are  of  dark  green ;  the  clover-leaves  purple  with  yellow  veins  and 
lio-ht  green  stems ;  the  border  is  dark  red,  interspersed  by  white  carves. 


Fig.  7.   Basket  with  Lambrequin. 

KEY  OR  WORK  BASKET. 


This  pretty  basket  of  black,  polished  wicker-work  rests  on  curved  feet,  and  is 
decorated  on  each  side  with  a  medallion  of  white  cloth  with  embroidery  of  col- 
ored silks.  The  inside  of  the  basket  is  fitted  with  walls  of  card-board  covered 
with  green  silk  on  each  side,  sewed  together  with  overhand  stitches,  and  sewed 


Fig.  8.  Work-Basket. 


170 


HOUSEHOLD  ELEGANCIES. 


to  a  card-board  bottom,  covered  on  the  lower  side  with  black,  on  the  upper,  vis- 
ible side,  with  green  silk.  The  bows  on  the  handle  and  the  ruching  on  the 
inner  margin  of  the  basket  are  made  of  green  ribbon,  four-fifths  of  an  inch 
wide.  Tassels  of  green  twist-silk,  each  one  and  two-fifths  inches  long,  complete 
the  decoration  of  the  basket. 

TOILET  OR  WORK  BASKET. 

Use  black,  polished,  round  wooden  or  bamboo  rods,  an  inch  in  circumference, 
two  thin  plates  of  wood  four  inches  long  and  two  and  three-fifths  inches  wide, 
white  satin,  green  velours,  shaded  green,  pink,  purple,  and  brown  twist-silk,  fine 
gold  cord,  green  silk  ribbon  one-fifth  of  an  inch  wide,  four  white  Venetian 
beads,  four  bronze  rings,  stout  card-board,  small  steel  tacks,  white  sewing-silk. 

The  frame  of  our  model  is  constructed  of  four  pillar-like  rods,  each  eight 
inches  long,  and  holding  between  them  two  boxes,  each  consisting  of  eight 

wooden  or  bamboo  rods  and  a  thin,  wood 
bottom  four  inches  long,  and  two  and 
three-fifths  inches  wide.  The  lower  box 
which  is  one  and  four-fifths  inches  high, 
requires  four  rods  five  and  three-fifths 
inches  long,  and  four  rods  four  and  one- 
fifth  inches  long.  The  upper  box,  which 
is  two  and  one-fifth  inches  high,  is  of 
exactly  the  same  size  at  the  bottom, 
while  for  the  top,  which  curves  outward, 
the  two  long  rods  must  be  each  six 
inches  long,  while  the  cross-rods  require 
a  length  of  five  and  one-fifth  inches. 
Small  steel  tacks  connect  the  various 
parts ;  those  which  are ,  arranged  into 
squares  are  notched  where  they  intersect. 
Each  of  these  squares  encloses  a  paste- ^. 
board  box  covered  with  green  velours  on 
Fig.  9,  Bamboo-Basket.  the  inside,  and  on  the  outside  with  white 

satin,  decorated  by  an  embroidery  of  colored  silks.  Tlie  box  is  fastened  at  the 
top  to  the  rods  l^y  means  of  overhand  stitches  of  gold  cord,  making  the  rod 
appear  as  if  twisted  with  the  gold  cord.  The  bows  decorating  the  upper  cor- 
ners of  the  boxes  are  made  of  green  ribbon,  ten  inches  long,  sewed  to  the  rods 
in  the  middle  and  then  tied.  The  handle,  which  is  fastened  to  the  upper  box 
by  means  of  steel  tacks,  and  is  decorated  with  two  ribbon  bows,  measures  fif- 
teen inches  in  length,  and  is  to  be  wound  about  with  gold  cord.  The  four 
pillars  are  decorated  at  their  tips  by  Venetian  beads  i-esting  on  bronze  rings. 


HOUSEHOLD  ELEGANCIES. 


171 


CASKET  WITH  PIX-CUSHIOI^. —FANCY  WOEK.  — FIG.  10. 


Use  gray  linen,  black  oil-cloth,  red  satin  and  twist-silk,  gray  yarn,  black  sou- 
tache, very  narrow  black  ribbon,  black  braid  two-fifths  of  an  inch  wide,  cord  elastic 
thick  card-board,  batting,  guni- 
arabic.  This  casket  is  con- 
structed of  card-board ;  the  bot- 
tom and  cover  are  five-sided, 
each  side  s  i  x  and  two-fifths 
inches  long;  the  five  sides  are 
each  one  and  one-fifth  inches 
high,  and  six  and  two-fifths 
inches  long;  these  parts  are 
covered  on  the  side,  which  is  to 
be  the  inner,  with  black  oil- 
cloth, bound  all  around  with 
black  braid,  and  the  sides  sewed 
to  each  other  and  to  the  bottom 
with  overhand  stitches.    The  Fig.  lO.  Casket, 

cover  and  sides  are  now  covered  with  gray  linen — for  the  sides  the  stuff  is  cut 
bias — and  five  arabesques  cut  according  to  Fig.  11  of  black  oil-cloth  are  pasted 


Fig.  11,   Top  of  Casket.   Arabesque  Patterns. 

to  the  cover.  Double  arabesques  constitute  the  decoration  on  the  corners  of  the 
sides.  The  latter  and  the  cover  are  bound  all  around  with  a  strip  of  black  oil- 
cloth fastened  with  gray  yarn  cross-stitches.  The  casket  is  arranged  on  the 
inside  into  five  compartments  to  hold  the  various  sewing-materials,  tape,  cotton, 
buttons,  etc. ;  the  center  is  filled  up  by  a  pin-cushion  made  of  batting  and  red 
satin.    The  cushion  is  finished  off  all  around  by  black  soutache.    The  compart- 


172 


HOUSEHOLD  ELEGANCIES. 


ments  in  the  casket  are  formed  of  a  strip  of  card-board  of  the  height  of  the  cas- 
ket, covered  on  each  side  with  oil-cloth,  and  tacked  at  equal  distances  to  the 
sides.  Overhand  stitches  connect  the  cover  to  the  casket  on  one  side.  Two 
straps  of  black  ribbon,  each  six  and  four-fifths  inches  long,  sewed  to  the  casket 
in  the  manner  the  illustration  indicates,  hold  the  cover  in  an  upright  position. 
The  casket  is  closed  by  elastic  nine  and  one-fifth  inches  long,  sewed  to  the  cover. 
Instead  of  the  arabesque  on  the  front  of  the  casket,  a  monogram,  likewise  cut 
of  black  oil-cloth,  has  a  very  pretty  effect.  The  latter  is  decorated  with  orna- 
mental stitches. 

TOILET-BASKET. 

Any  old  basket  may  be  arranged  into  the  pretty  and  handy  toilet-article  Fig. 
12  represents.  The  pockets  at  the  sides  are  convenient  for  holding  jewelry, 
collars,  cuffs,  etc.,  taken  off  before  retiring.  The  basket  is  covered  inside  and 
out  with  white  dotted  Swiss,  lined  with  colored  silk  or  paper  muslin.  The 


Fig.  12.  Toilet-Basket. 

pockets  are  cut  of  card-board,  rounded  at  the  bottom,  and  covered  in  the  same 
manner  as  the  basket,  to  which  they  are  sewed  with  very  fine  stitches.  A  deep 
fall  of  lace  decorates  the  basket  all  around,  caught  up  at  four  places  by  bows  of 
ribbon  of  a  color  to  match  the  lining.  The  pockets  and  top  of  the  basket  are 
edged  with  narrow  lace.    A  bow  of  ribbon  decorates  each  pocket. 

WORK-BASKET. 

Use  silver  perforated  card-board ;  two  shades  of  green  and  purple  chenille ; 
a  piece  of  satin  eight  and  four-fifths  inches  long,  and  six  and  one-fifth  inches 


HOUSEHOLD  ELEGANCIES. 


173 


wide ;  catin  ribbon,  four-fifths  of  an  inch  wide ;  thick  silk  cord ;  sewing  silk ; 
one  purple  China  button,  strong  card-board,  etc.    The  frame  of  this  basket  is 


Fig.  13.  Card-Board  Basket.  Fig.  14. 


constructed  of  strong  card-board.  For  the  cover  and  bottom,  cut  two  ovals,  each 
seven  and  three-fifths  inches  long,  and  five  and  one-fifth  inches  wide.  The  side 
is  three  and  one-fifth  inches  high,  and  long  enough  to  reach  around  the  bottom. 
The  outer  decoration  of  the  basket  consists  of  a  strip  of  silver  perforated  card- 
board, embroidered  with  a  border  eight  stitches  wide,  consisting  of  green  leaves, 
purple  flowers,  and  brown  stems,  worked  in  long  stitches.  When  the  inner 
side  of  the  cover  has  been  provided  with  a  strip  of  satin,  divided  into  five 
parts  for  thimble,  scissors,  needle-case,  etc.,  bind  all  the  parts  with  purple  rib- 
bon, and  connect  side  and  bottom  by  means  of  overhand  stitches.  The  cover  is 
decorated  on  the  top  with  satin,  lined  with  perfumed  batting,  and  quilted  in 
diamonds  with  white  silk.  At  one  of  the  long  sides  the  cover  is  joined  to  the 
basket  with  overhand  stitches,  making  the  seam  about  two  inches  long.  The 
cover  is  edged  with  a  niching  and  decorated  with  two  bows  ;  a  ruching  also 
surrounds  the  lower  edge  of  the  basket.  A  small  purple  China  button  and  loop 
of  elastic,  serve  as  a  means  of  closing  the  basket.  The  handle  is  made  of  thick 
silk  cord,  or  a  strip  of  scalloped  silver  perforated  board,  decorated  with  ruching, 
and  may  be  affixed  length-wise  or  cross-wise. 

WORK-BASKET  WITH  STAND. 

The  model  consists  of  a  stand  of  brown  cane,  twenty-eight  and  one-half 
inches  high.  To  the  upper  basket,  a  cover  provided  with  a  catch  is  attached  by 
means  of  hinges.  The  latter,  as  well  as  the  two  baskets,  the  bottoms  of  which 
are  slightly  wadded,  receive  a  lining  of  lilac  silk.  To  the  upper  side  of  the 
cover  a  flat  pincushion  made  of  silk  and  batting,  and  five  inches  square  in  size, 
is  affixed.    It  is  edged  with  a  ruching  of  pinked  silk,  one  and  two-fifths  inches 


174 


HOUSEHOLD  ELEGANCIES. 


wide.  The  inner  decoration  of  the  cover  consists  of  a  piece  of  silk,  shirred  on 
a  round  piece  of  card-board,  four  inches  in  diameter,  and  is  edged  with  a  similar 
ruching,  as  are  also  the  outer  and  inner  margin  of  the  cover,  the  outer  edges  of 
the  two  baskets,  and  the  two  bottoms.  Four  bows  placed  as  indicated  in  the 
illustration,  finish  the  pretty  decoration. 


Fig.  15.   Work-Basket  with  Stand. 


STANDING  SCEAP-BAG. 

This  "  modern  improvement,"  designed  to  hold  the  many  bits  of  paper  and 
scraps  of  waste  material  which  otherwise  would  litter  a  sitting-room,  may  be 
made  quite  ornamental  at  little  expense.    To  make  the  standard,  get  six  pieces 


HOUSEHOLD  ELEGANCIES. 


175 


of  rattan,  fourteen  inches  long,  a 
one  inch  and  a  half  wide  ribbon- 
spool,  and  six  pieces  of  rattan  five 
inches  long.  Fasten  two  pieces  of 
rattan  of  the  same  size  together 
with  tacks,  until  all  are  in  pairs. 
Now,  notch  these  fourteen-inch 
rattan  sticks  all  around,  at  a  dis- 
tance of  four  and  a  half  inches 
from  the  top,  so  as  to  provide  a 
resting  place  for  the  cord  which 
fastens  the  bag  to  the  standard. 
Bore  three  holes  near  the  center  of 
the  ribbon-spool,  in  which  glue  the 
double  rattan  sticks.  The  holes 
in  which  the  short  sticks  which 
form  the  feet  are  to  be  inserted 
must  be  farther  from  the  center. 
Color  with  black  varnish.  Fasten 
black  fringe,  or  of  the  same  color 
as  the  bag,  on  the  round  piece  of 
wood,  with  very  small  tacks,  such 
as  are  used  by  painters  to  tack  oil 
canvas  on  wooden  stretchers.  The 
tacks  will  be  hidden  by  sewing  on 
cord  or  chenille,  same  shade  as 
fringe,  to  the  heading  of  fringe. 
The  bag  is  made  of  one  or  three 
straight  pieces  of  crimson  silk, 
cashmere,  or  any  woolen  material 
which  falls  in  graceful  folds.  To 
Fig.  16.  Standing  Scrap-Bag.  ^e  serviceable,  it  should  be  lined 

This  bag  opens  with  a  drawing-string,  and,  as  the 
inside  of  the  top  shows,  face  with  green  or  black  silk  —  delicate  colors  would 
soil  too  soon.  Sew  box-plaited  ribbon  all  around  the  bag  where  it  is  fastened 
to  the  standard.  A  triangle,  or  hoop  of  ratan  or  wire,  inserted  here,  under  the 
silk,  will  give  it  firmness.  Then  sew  crimson  and  white  chenille  cord,  with  a 
crimson  silk  tassel  at  the  ends,  to  the  bag,  and  tie  where  the  standard  is  notched. 
Fringe,  or  a  ruche  of  silk,  fringed  out,  may  be  used  instead  of  ribbon. 

STANDING  WORK-BASKET. 
Obtain  three  circular  pieces  of  wood  fourteen  inches  in  diameter,  for  the  top 


with  strong  twilled  muslin 


176 


HOUSEHOLD  ELEGANCIES. 


and  bottom,  and  a  center  one  seven  inches.  Fasten  these  together  with  a  pole 
through  the  center,  like  the  hour-glass  stands,  the  small  circle  midway  be- 
tween the  top  and  bottom.  Screw  three  of  the  common  iron  clothes-hoops  on 
the  bottom,  as  feet. 

Take  a  piece  of  ticking  stripped  sufficiently  long  to  reach  between  the  lower 

two  circles,  and  long  enough  to  fit 
round  the  bottom  one.  Embroider  the 
white  stripes  with  bright-colored  zephyr 
in  chain  or  "  side-stitch ; "  hem  the 
edges,  from  top  to  bottom,  and  gather 
the  top  to  fit  around  the  center  circle. 
Cover  or  paint  the  top  of  the  lower  cir- 
cle ;  thus  is  formed  a  receptacle  for  va- 
rious articles  required  by  the  seamstress. 
Cover  the  small  circle  in  the  same  man- 
ner, and  around  it  make  a  case  or  basket 
for  buttons,  spools,  etc. ;  trim  with  che- 
nille zephyr-cord.  Cover  the  rod. 
through  the  center,  with  scarlet  chintz, 
and  twine  a  black  or  yellow  cord  around 
it  spirally.  The  top  is  finished  by  cover- 
ing or  painting;  and^ furnishing  with  a 
set  of  six  pockets  of  the  ticking,  fastened 
around  the  edge  and  hanging  down  to 
within  an  inch  or  two  of  the  bottom. 
A  basket  of  any  desired  kind  is  made  for  the  top,  to  which  it  is  securely  fas- 
tened by  screwing  from  within  on  the  bottom. 


Fig.  17. 


CHAPTER  IX. 


WAX  FLOWERS,  FRUITS,  ETC. 


No  work  is  at  once  so  refined  and  ennobling  as  that  which  by  imitating  the 
beautiful  and  lovely  in  nature  raises  the  human  mind 

"  Up  to  Nature's  God." 

And  of  all  beautiful  things  in  Nature,  "  flowers,  sweet  flowers,"  are  admitted  to 
be  of  all  things  the  most  lovely.  Next  to  adorning  our  homes  with  these  ex- 
quisite natural  beauties,  comes  the  art  to  form  their  counterpart  in  the  most 
perfect  manner,  which  is  done  in  no  way  more,  accurately  than  by  the  use  of 
wax.  Copies  of  flowers  and  fruit  in  wax  are,  undoubtedly,  the  most  truthful 
and  life-like  that  can  be  conceived ;  and  as  the  contemplation  of  the  beautiful  is 
always  interesting  and  instructive,  so  the  art  of  copying  or  producing  faithful 
imitations  of  the  same,  must  tend  to  instruct  and  refine  the  taste  and  improve 
the  mind  of  the  operator ;  and  it  will  be  found  that  those  persons  constantly 
engaged  in  copying  the  lovely  things  scattered  by  a  munificent  Creator,  through 
our  woods  and  glens,  will  be  ever  on  the' watch  for  beautiful  objects ;  this  alone 
would  be  a  high  recommendation  in  favor  of  teaching  the  art  of  forming  the 
flowers  and  fruit  of  our  own  and  distant  lands. 

A  few  years  ago  the  art  of  forming  wax  flowers  and  leaves  was  made  a  tedious, 
and  frequently  unsatisfactory  branch  of  fancy  work  because  the  operator  was 
obliged  to  make  his  own  sheet  wax. 

At  this  time,  however,  this  branch  of  the  art  is  seldom  prosecuted  by  the 
mere  amateur,  inasmuch  as  the  sheets  are  now  prepared  by  means  of  mechanical 
contrivances,  and  by  those  who,  making  this  part  of  the  work  a  business,  incor- 
porate certain  articles  with  the  wax  to  render  it  of  proper  consistency,  and  im- 
part such  a  highly-finished  polish  to  the  surface,  as  to  render  the  after  part  of 
the  work,  that  of  the  amateur,  comparatively  easy,  and  far  more  beautiful  than 
when  the  wax  sheets  were  prepared  in  small  quantities,  and  by  his  own  inexpe- 
rienced hands. 

There  are  a  number  of  manufacturers  of  sheet- wax,  but  the  most  celebrated 
12 


178 


HOUSEHOLD  ELEGANCIES. 


and  finest  article  is  imported  under  the  name  of  "  Madam  Scheiffele's  sheet-wax," 
■which  possesses  the  advantage  of  being  tough,  and  not  drying  out  and  crum- 
bling, either  while  in  the  process  of  formation  or  subsequently,  after  time,  patience 
and  labor  have  been  expended  in  bringing  the  work  to  perfection. 

The  best  materials  and  a  good  set  of  tools  are  essential  to  good  wax-flower 
making.  The  former  consists  in  wax  of  different  kinds,  powdered  colors,  wire, 
in  assorted  sizes,  stamens  of  various  kinds,  arrow-root,  sprig  moss  and  frosting. 
The  tools  are  of  hard  wood,  excepting  the  pins,  which  are  iron  or  steel  with 


Fig.  1.   Stand  of  Wax-Fruit.  Fig.  2.  Tools. 


glass  heads,  or  of  ivory  or  bone  ;  besides  these,  cutters  of  tin  and  brass  are  re- 
quired for  some  flowers,  such  as  Lily  of  the  Valley,  Dicentra,  etc.,  and  leaf-molds 
of  brass  or  plaster,  small  sharp  scissors,  loose  in  the  joint,  with  points,  penknife, 
spatulas,  a  palette,  or  tiny  saucers,  for  mixing  the  colors,  camel's-hair  pencils,  ^ 
sable,  veining,  bristle  (Poonah)  brushes,  a  small  spirit-lamp,  and  a  few  other 
articles  that  will  be  mentioned  in  giving  directions  for  certain  parts  of  the 
work.  An  ample-sized  apron,  and  a  wet  sponge  or  cloth,  and  clean  towel  are 
necessary,  as  the  fingers  sometimes  become  stained  with  color,  when,  in  using 


HOUSEHOLD  ELEGANCIES. 


179 


white  wax  afterward,  the  purity  would  be  sullied,  if  not  cleansed.  A  sheet  of 
clean  paper  upon  the  lap  board  or  stand  upon  which  the  wax,  etc.,  are  placed,  is 
also  a  wise  precaution ;  and  we  would  remark  here  that  one  great  beauty  of 
wax-work  is  its  perfect  cleanliness  ;  and  to  keep  it  from  being  touched  with  color 
or  dirt,  each  piece,  as  it  is  cut,  must  be  laid  upon  a  piece  of  soft  paper,  and  if 
not  directly  used,  covered  from  the  dust ;  the  fingers,  also,  must  be  frequently 
wiped,  as  also  each  instrument,  and  the  scissors  before  using  it. 
'  The  wax  is  of  several  varieties ;  one  kind,  quite  thin,  called  "  single,"  selling 
at  ten  cents  per  dozen  sheets,  which  can  be  procured  in  various  colors  ;  the  mot- 
tled varieties  selling  for  eighteen  cents  per  dozen  sheets ;  "  extra  double  large 
wax,"  for  pond  lilies,  also  the  same  for  some  leaves,  in  assorted  greens,  costs 
eighteen  cents  for  six  sheets. 

Molding-tools  are  sold  by  the  single  one,  or  the  dozen,  as  preferred.  Small 
rosewood,  assorted,  various  patterns,  ten  cents  each ;  or  in  assorted  dozens, 


Fig.  3.   Tools  for  Wax -Work,  Nos.  1  to  12. 


one  dollar  per  dozen  ;  large,  with  two  knobs,  fifteen  cents  each  ;  steel  pins  with 
glass  heads,  white  and  colored,  from  five  to  fifteen  cents  ;  tweezers  and  folder, 
fifteen  cents  each.  Wire  is  sold  on  spools  or  in  coils.  White  and  green  cotton- 
covered  spools  ten  cents  each ;  white  and  green  silk-covered,  fifteen  cents ; 
"  coils  "  of  each,  about  the  same  price. 

Flower,  fruit  and  autumn  gilt-molds,  finely  veined  and  molded  from  nature, 
in  various  sizes,  cost  from  five  to  twenty-five  cents  :  extra  fine  gilt  flower-cutters 
and  patterns  are  ten,  fifteen  and  twenty-five  cents  each,  according  to  the  number 
of  petals. 

The  best  colors  for  wax  are  sold  in  small  Homo-phjals,  and  are  in  fine  pow- 
der. These  are  of  every  shade  and  tint,  selling  from  fifteen  to  forty  cents, 
though  pure  carmine  is  the  only  color  that  costs  as  high  as  forty  cents. 

Camel's-hair  pencils,  in  assorted  sizes,  $1.20  per  dozen;  Poonah  bristle 


180 


HOUSEHOLD  ELEGANCIES. 


brushes,  twenty  cents  each,  (|2.40  per  dozen ;  veining  sable  bruslies,  five  cents 
each,  sixty  cents  per  dozen. 

There  are  other  materials  that  will  be  required  in  this  work  which  some  may 
be  glad  to  obtain  ;  such  as  arrow-root,  sold  in  one-fourth  pound  packages,  twenty 
cents;  sprig  moss  for  buds  and  roses,  sixty  cents  per  dozen;  packages  dyed 
moss,  large  and  small  packages,  fifteen  and  twenty  cents ;  palette-knives  twenty- 
five  to  thirty  cents  each ;  stamens,  sixty  cents  per  dozen  packages. 

When  prepared  to  make  wax  flowers,  by  having  wax  and  materials  of  other 
kinds,  and  implements  ready,  place  a  sheet  or  two  of  clean  paper  or  cloth  upon  a 
table  or  lap  board,  and  arrange  the  boxes  of  tools,  wax,  and  other  materials  in  con- 
venient positions,  also  a  lighted  spirit-lamp,  glass  of  water,  and  a  saucer  or  finger- 
bowl  with  sponge  .and  towel.  The  room  should  be  warm  or  the  wax  will  become 
too  brittle  to  work. 

Having  all  things  thus  conveniently  arranged,  the  work  may  be  commenced; 
and  as  pure  v/hite  flowers  and  leaves  in  imitation  of  sculptured  marble  are  more 
easily  made  than  any  others,  we  will  describe  th3  method  of  making 

THE  MxiRBLE  CROSS. 

Obtain  a  cross  of  suitable  dimensions,  which  should  have  three  stops  at  the 
base.  Paint  pure  white;  giving  a  .sufficient  number  of  coats  to  make  a  smooth, 
close  surface ;  then  proceed  to  cover  smoothly  with  the  heavy,  double,  white 
wax,  Uijing  a  spatula,  and  covering,  first,  the  steps,  then  the  body  and  arms  of 
the  cross.  When  entirely  covered  with  one  layer,  apply  a  second.  Make  clus- 
ters of  three  rose-leaves  graduated  in  size;  the  first  and  largest  upon  the  corners 
of  the  lowest  step;  the  second  set,  three  each,  in  the  same  manner,  on  the 
corners  of  the  second ;  and  the  smallest  on  the  top.  The  cross  may,  if  desired, 
be  also  ornamented  to  suit  the  taste  of  the  operator.  The  cross  finished,  is 
placed  in  some  position  clear  from  dust,  and  the  floral  ornamentation  commenced ; 
the  most  simple,  being  a  graceful  ivy-vine. 

Take  the  three  sizes  of  ivy-leaf  molds,  and  dipping  one  of  them  into  the 
water,  press  upon  the  "  wrong  "  (or  under)  side  a  piece  of  white  wax,  moisten- 
ing the  fingers  and  pressing  every  part ;  then  take  one  of  the  little  strips  cut 
from  the  edge,  and  place  it  on  the  midrib;  lay  on  it  a  piece  of  white  silk- 
covered  wire ;  place  another  narrow  strip  on  the  top,  and  then  the  lining  of  the 
leaf,  pressing  it  upon  the  front  carefully,  and  cutting  the  edges  off  smoothly  with 
the  fingers ;  with  the  point  of  the  knife  raise  one  part  of  the  edge  gently,  and  if 
the  leaf  does  not  immediately  leave  the  mold,  dip  it  for  a  moment  in  water.  The 
strips  of  wax  under  and  above  the  wire,  will  prevent  the  difficulty  generally  com- 
plained of,  that  the  wire  cuts  through  the  wax.  These  directions  will  apply  for 
all  leaves,  unless  they  are  of  unusual  thickness  or  size ;  when  the  double  wax 
must  be  used,  and  in  some  cases  a  third  layer  of  wax  on  the  wire,  will  be  found 


IIOUSEnOLD  ELEGANCIES. 


181 


necessary.  In  many  cases  wo  prefer  to  use  the  heavier  wax,  both  white  and 
gresn,  for  leaves,  inasmuch  as  it  is  not  so  liable  to  break,  when  j^ressed  finuly 
upon  the  mold. 

Having  mada  a  number  of  leaves  of  all  the  different  sizes,  proceed  to  form 
few  clusters  of  berries.  Have  the  fingers  perfectly  clean,  and  take  tlie  pre- 
caution to  first  roll  a  piece  of  refuse  wax  between  the  thumb  and  finger ;  form 
a  few  clusters  of  berries  by  rolling  wax  between  the  fingers,  and  fasten  upon 


Fig.  4.  The  Marble  Cross. 


slender  wire-stems ;  the  next  step  is  to  form  the  sprays  of  leaves  and  berries 
into  a  vine ;  which  is  done  by  covering  a  piece  of  heavier  wire  with  a  strip  of 
wax,  laying  the  wire  in  the  center  of  the  wax,  longitudinally,  pressing  the  edges 
together  and  twirling  it  between  the  fingers,  in  the  same  manner  we  twist  for 
"  lamp-lighters."  This  wire  should  reach  from  the  base  of  the  cross  to  the  top. 
and  branches  must  be  fastened  to  it ;  one  to  twine  around  one  arm,  the  other 
to  pass  up  the  opposite  side  of  the  body,  and  over  the  arm;  to  these  the  sprays 


182 


HOUSEHOLD  ELEGANCIES. 


of  leaves  and  berries  must  be  fastened  in  such  a  manner  as  to  cling  to  the  cross, 
and  hang  in  rich  profusion  from  the  arms  and  top.  At  the  base  of  the  cross, 
the  vine  should  be  thick  and  the  clusters  of  leaves  larger  and  fuller  than  above. 

When  the  leaves,  etc.,  are  finished,  if  it  is  desired  to  frost  the  work,  take  a 
soft  camel's-hair  brush  and  carefully  touch  the  surface  of  the  cross,  the  leaves 
and  other  parts  with  Demar  varnish,  of  finest  quality,  and  sprinkle  with  fine 
"  diamond-powder."  This  style  of  cross  is  extremely  beautiful  made  with  orna- 
mental arms  and  top,  with  figures  molded  upon  the  face  of  the  cross,  in  imita- 
tion of  carved  work.  At  the  base  a  profusion  of  flowers  and  leaves — Passion- 
vine,  calla-lily,  rose  and  buds,  and  many  smaller  blossoms,  and  berries,  with 
grasses  and  fine  leaves,  a  vine  of  convolvulus  with  its  beautiful  leaves  and  flowers, 
climbing  up  the  body  and  falling  over  the  arms  in  graceful  sprays. 

Another  is  composed  entirely  of  the  passion-vine  and  its  lovely  flowers,  which 
in  pure  white  wax,  appears  like  chiseled  marble.  In  making  the  last-mentioned 
cross,  the  passion-vine  and  flowers  are  in  miniature  size. 

Wax  made  to  imitate  marble  is  always  made  as  glossy  as  possible,  and  in 
any  case,  use  care  in  putting  the  molds,  patterns,  etc.,  on  the  dull  and  not  on  the 
glossy  side  of  the  wax,  the  latter  being  the  "  right  side." 

AUTUMN-LEAF  CROSS. 

The  most  simple  device,  after  the  marble  cross,  is  one  ornamented  witli 
autumn  leaves.  The  beautiful  mottled,  spotted,  striped  and  tinted  wax,  sold 
under  the  name  of  autumn-leaf  wax,  is  well  adapted  to  forming  almost  all  the 
the  leaves  that  are  required  for  this  purpose,  but  there  are  some  shades  that  are 
made  more  natural,  if  colored  with  the  powder  colors.  There  are  several  modes 
of  applying  these  powders,  but  we  find  none  so  effective,  and  that  produce  that 
soft,  velvety  appearance,  so  beautiful  in  the  natural  leaf  and  flower,  as  the  use 
of  the  dry  powder,  applied  with  the  tip  of  the  finger,  aided  by  a  "  pencil-stumper," 
which  is  only  a  camel's-hair  pencil  with  about  two-thirds  of  the  hair  cut  off,  and 
the  aid  of  the  breath  or  a  very  little  warmth. 

The  first  step  in  commencing  this  "  piece,"  is  to  make  a  collection  of  the  nat- 
ural autumn  leaves  as  guides,  the  gorgeous  hues  of  which  may  be  perfectly  imi- 
tated, either  in  the  artificially-colored  wax,  or  may  be  accurately  copied  with 
paint. 

A  white  cross  is  admired  by  many,  and  is  unexceptionable ;  but  an  imitation 
of  granite  is,  we  think,  in  better  taste ;  but  either  will  be  found  exceedingly 
beautiful. 

To  form  the  granite  cross  the  wood  is  painted  in  the  proper  gi-anite  color,  and 
sanded  with  a  mixture  of  "  granite-sand  "  and  "  diamond-powder ;  "  a  few  pieces 
of  stone  must  be  dipped  in  melted  wax  and  sanded  in  the  same  way,  to  place 
around  the  base  of  the  cross.    The  leaves  are  then  carefully  molded,  using  green 


HOUSEHOLD  ELEGANCIES. 


183 


wire  for  stems  ;  the  large  ones  are  grouped  around  the  base  of  the  cross,  and  a 
vine  trained  up  around  the  body  and  over  the  arms  and  top  ;  using  small  leaves 
of  some  pretty  vines,  twined  together  with  a  few  scarlet  and  purple  berries.  A 
few  clusters  of  ornamental  grasses,  that  have  been  dried  in  such  a  manner  that 
they  droop  gracefully,  are  an  improvement  to  the  leaves  grouped  around  the 
base ;  and  some  species  of  ferns,  imitated  in  wax,  should  be  made  into  clusters 
and  placed  among  the  rocks. 

This  cross  is  extremely  beautiful  and  always  admired. 

Collections  of  autumn  leaves  are  very  effective  grouped  in  a  tasteful  manner, 
and  placed  on  a  bed  of  moss,  in  a  basket ;  or  a  cross  entirely  covered  with  them, 
is  a  charming  object,  as  also  a  pure  white  cross  with  garlands  of  these  in  all 
their  richness  of  coloring. 

BASKET  OF  WILD  FLOWEKS. 

Here  is  a  fine  opportunity  for  forming  flowers  and  leaves  of  many  beautiful 
kinds,  that  can  be  found  in  woodland  and  field ;  foi",  as  we  are  all  aware,  wild 
flowers  are  always  more  beautiful  when  grouped  together,  unmixed  with  those 
of  a  more  gorgeous  character  ;  and  in  the  late  spring,  especially,  these  treasures 
are  to  be  found  in  such  numbers,  and  are  withal  so  lovely,  that  no  maker  of  wax 
flowers  should  consider  their  collection  complete,  unless  they  can  exhibit  these 
modest  beauties  of  the  forest ;  the  violet,  trailing  arbutus,  hepatica,  dogwood, 
blood-root,  anemone,  and  dozens  of  others,  that  combine  together  to  form  one  of 
the  most  charming  groups  imaginable. 

WAX-FLOWERS. 

It  is  necessary  in  making  wax-flowers  to  understand  their  component  parts, 
which  are  described  by  their  scientific  names.  We  give  therefore  a  few  concise 
but  clear  descriptions  of  the  terms  used  in  forming  different  flowers,  in  order  to 
avoid  mistakes. 

A  flower  consists,  when  all  the  parts  are  present,  which  is  not  always  the  case, 
of  the  calyx,  corolla,  stamens,  and  pistil. 

The  calyx  or  "  flower-cup,"  is  the  extension  of  the  peduncle  or  stem,  and  is 
generally  green  and  leaf -like  ;  the  divisions  are  called  the  sepals. 

The  corolla  is  what  is  called  the  flower,  but  is  the  colored  inner  set  of  leaves,  ^ 
of  other  colors  than  green,  and  delicate  in  texture.    The  parts  of  the  corolla  are 
called  petals. 

The  stamens  are  the  thread-like  substances,  generally  placed  within  the  co- 
rolla, and  consist  of  two  parts,  namely,  a  filament  and  an  anther ;  the  filament 
being  the  stalk,  and  the  anther  the  little  kno]b,  ball  or  case  borne  on  the  top  of 
it.    These  are  covered  with  the  yellow  powder,  the  pollen. 

The  pistils  are  the  bodies  in  which  the  seed  are  formed,  and  stand  in  the 


/ 


184 


HOUSEHOLD  ELEGANCIES. 


center  of  the  flower ;  the  slender  part  is  called  the  style,  and  connects  with  the 
ovary  below,  and  the  stigma  upon  the  top. 

The  receptacle  is  the  part  in  which  all  the  parts  are  united. 
.  The  fruit  is  the  ripened  ovary ;  it  may  be  a  berry,  a  stone-fruit,  a  nut,  a  grain, 
or  a  pod. 

The  leaf  has  a  blade,  a  footstalk,  and  a  pair  of  stipules.  The  blade  is  gener- 
ally the  principal  part ;  the  footstalk  the  part  connecting  the  leaf  and  stem,  and 
the  stipules  the  little  leaves  at  the  base  of  the  footstalk. 

TO  MAKE  STAMENS  AND  PISTILS. 

These  may  be  purchased  of  all  sizes,  colors  and  varieties,  but  there  are  times 
when  it  is  impossible,  perhaps,  to  procure  them  from  the  stores,  when  they  may  be 
made  thus :  Take  sewing-cotton  of  any  color  desired,  or  in  some  cases  Manilla 
grass,  which  cut  into  lengths  of  suitable  size,  and  stiffen  with  starch  or  gum : 
when  perfectly  dry,  dip  in  melted  wax.  Form  the  anthers  by  cutting  tiny  slips 
of  wax,  rolling  them  between  the  fingers,  snipping  off  the  ends,  and  pressing 
upon  the  end  of  the  filaments;  paint  with  mucilage,  and  dust  with  yellow 
powder,  pollen. 

The  pistils  are  somewhat  longer,  and  the  anther  is  generally  formed  of  green 
wax,  shaped  into  an  elongated  ball  with  the  fingers,  pressed  upon  three  sides 
with  the  point  of  the  molding-pin,  and  dusting  with  a  little  yellow  powder. 

LEAVES. 

There  are  gilt  and  tin  molds,  and  cutters  for  a  large  number  of  leaves,  but  it 
may  sometimes  happen  that  these  cannot  be  procured,  or  that  some  curious  or 
new  leaf  may  be  desired,  the  mold  of  which  has  not  yet  been  made ;  in  such 
a  case  the  leaf  may  be  formed  as  follows  :  Take  the  thick  double  wax,  a  dark 
and  light  sheet,  and  after  warming  and  softening  them,  press  two  of  them 
together  with  stem  between,  and  while  pliable,  apply  the  leaf  desired  to  the 
surface,  with  the  grain,  then  with  the  leaf  still  on  the  warm  wax,  cut  the  shape 
of  the  leaf  along  the  edge,  and  holding  the  leaf  on  the  palm  of  the  left  hand, 
press  every  part  of  it  with  the  right  hand  fingers,  the  back  of  the  leaf  being 
down  upon  the  wax.  Keep  the  wax  warm,  and  press  every  part  with  the  great- 
est nicety.  The  edges  must  be  carefully  notched  and  serrated,  to  correspond 
with  the  natural  one.  The  leaf  should  be  wet  before  applying  it  to  the  wax,  oi- 
better  still,  painted  very  carefully  with  the  least  touch  of  pure  sperm  oil. 

COLOKING. 

In  making  fine  lines  and  minute  tracery,  the  little  camel's  hair  pencils  will  be 
found  most  suitable  for  applying  the  color ;  but  for  broad  surfaces,  splotches, 
etc.,  the  Poonah  bristle  brushes  are  best  adapted,  and  they  must  be  held  in  an 


HOUSEHOLD  ELEGANCIES. 


185 


upright  position  while  apj)lying  the  color.  Where  the  petals  are  glossy,  the 
color  may  be  used  moist,  and  then  dried  and  varnished ;  but  when  a  soft,  velvety 
surface  is  desired,  the  breath  must  be  blown  upon  it,  and  powdered  color  up- 
plied  ;  and  if  it  is  desired  very  thick  in  appearance,  a  little  varnish  may  be 
applied,  partially  dried,  and  dusted  with  appropriate  color. 

When  it  is  desired  to  from  a  petal,  which  is  white  upon  one  side  and  colored 
upon  the  other,  cut  a  piece  of  fine  muslin  the  shape  of  the  petal,  and  place 
between  the  two,  pressing  the  edges  closely.  This  applies  also  in  other  colors, 
as  the  buif,  and  pink,  and  scarlet,  and  yellow  in  the  honeysuckles,  the  white  and 
green  in  the  Passion-flower,  and  white  lily,  etc. 


Fig.  5.   Trailing  Arbutus. 


V^arious  materials  may  be  used  for  stamens  and  pistils ;  for  instance  in  the 
pink,  sweet-Williams.  and  some  other  flowers,  the  feathers  from  a  quill  drawn 
over  a  knife,  will  afford  a  very  natural  pair  of  stamens.  Where  stiff,  slender 
ones  are  called  for,  the  grasses  will  furnish  them;  while  for  some  the  dried 
centers  of  some  of  the  everlasting-flower,  will  prove  valuable.  Again,  cotton, 
silk  and  thread,  dipped  in  melted  wax,  and  drawn  between  the  fingers,  is  suit- 
able for  all  those  that  are  fine  and  thread-like.  Verbenas,  Drummond's  phlox, 
and  many  other  flowers  having  varieties  of  many  shades  of  color  in  which  it  is 
frequently  difficult  to  produce  a  sufficient  change,  fine  changes  of  scarlet  and 
crimson  may  be  made  thus :  With  carmine  or  vermilion,  mixed  with  thin 


186 


HOUSEHOLD  ELEGANCIES. 


mucilage,  two  fine  colors  are  given,  and  these  upon  a  yellow  surface,  afford  two 
more ;  while  the  same  upon  a  light  straw-colored  ground  will  give  another  change  • 
by  using  a  little  judgment  in  thus  applying  colors,  various  tints  may  be  produced' 
which  will  add  greatly  to  the  beauty  and  variety  of  the  group. 

This  flower  will  be  found  pretty  for  training  around  the  handle,  and  over  the 
edge  of  the  basket. 

STAR-FLOWER. 

.This  is  another  spring  beauty ;  its  long,  glossy,  light-green  leaves,  are  cut  from 
Fig.  6,  A,  and  arranged  in  a  whorl  upon  the  top  of  the  stem,  with  the  pure  M^hite 
and  graceful  blossoms  shown  in  Fig.  6.  The  shape  of  the  petal  is  shown  at  C  ; 
seven  of  these  are  placed  in  star-shape  around  a  cluster  of  thread-like  stamens,  B. 


Fig.  6.   The  Star-Flower. 


DAISY. 

The  single  wild  daisy,  although  such  a  common  flower,  gives  great  brightness 
to  the  collection ;  it  is  so  well  known  that  a  description  is  scarcely  necessary. 
A  number  of  the  narrow  white  circles  like  Fig.  7,  A  and  B,  are  made  and  fas- 
tened around  a  flat,  button-like  center,  two  rows  of  them  forming  a  single  daisy. 


HOUSEHOLD  ELEGANCIES. 


187 


Blue-Bell. 


The  heart  is  made  by  molding 
a  piece  of  wax  into  a  round 
button-shaped  heart,  one-fourth 
of  an  inch  in  diameter ;  let  the 
upper  sm-face  be  a  little  raised, 
and  prick  it  thickly  over  the 
whole  surface,  then  paint  it 
with  gum,  and  dust  with  bright 
yellow  powder.  This  forms 
that  yellow  center,  seen  in  the 
common  single  daisy  of  the 
fields,  also  in  single  asters  and 
some  other  flowers. 

BLUE-BELL. 

These  delicate,  drooping 
flowers,  both  the  deep  blue  and 
lavender  variety,  are  formed  of  the  thin  wax  cut  in  shape  of  C,  Fig.  7,  and  mold- 
ed upon  the  small  end  of  tool  9  (Fig.  3),  Lily  of  the  Valley.  The  edges,  D 
and  F,  are  placed  together  and  pressed  until  flat  and  well  united ;  a  small  tool, 
2  or  3  (Fig.  3),  is  then  wet  and  the  .bell  is  slipped  on  it,  and  the  edges,  G 
and  H,  are  united  in  the  same  manner,  and  closed  over  on  the  top,  where  a 
slender  wire  is  inserted,  the  center  pressed  closely  round  it.  The  open  part,  D, 
is  now  rolled  very  thin  and  slightly  crimped  by  pressing  the  pin  gently  on  the 
edge,  making  three  or  four  little  scallops,  almost  imperceptible.  A  few  thread- 
like stamens  are  placed  on  a  little  ball  of  wax,  which  is  fastened  on  a  stem  of 
thin  wire,  the  point  of  which  is  tipped  with  a  speck  of  green  wax  forming  the 
pistil;  around  this  the  bell-shaped  corolla. is  slipped  and  pressed  into  form.  Six 
or  eight  of  these  bells  are  fastened  on  a  thicker  stem  of  wire,  and  above  them 
as  many  smaller-sized  ones  with  large  and  small  buds  at  the  top,  the  last  ones 
being  bells  of  greenish-blue  wax. 

THE  AEUM. 

As  a  pretty  change  from  the  simple  set  of  small  flowers  you  have  made,  the 
Arum,  or  as  we  familiarly  call  it,  "Jack  in  the  Pulpit,"  may  be  attempted,  as 

its  formation  is  simple,  though  on  a 
more  extensive  scale. 

To  form  this  singular  but  beauti- 
ful flower,  take  a  stiff  piece  of  wire 
for  stem,  which  cover  with  gi-een 
wax ;  form  a  pistil,  as  at  D,  Fig.  8, 
which  cover  with  yellow  wax ;  paint 
with  mucilage,  and  while  sticky. 


Fig,  8. 


188 


HOUSEHOLD  ELEGANCIES. 


Fig.  9.   The  Arum. 


cover  thickly  with  chrome,  in  powder.  Cut  the;  spathe,  F,  of  the  shape  liere 
shown,  but  half  as  large  again,  from  light  pea-green,  or  whitish-green  wax, 
double,  molding  the  edges  perfectly  flat,  and  curling  the  point  over  toward  the 
front,  as  shown  in  Fig.  9. 

Fasten  the  pistil  to  the  wire  stem  by  rolling  a  strip 
of  wax  around  them,  after  pressing  the  point  of  the 
wire  into  the  wax  of  the  pistil ;  place  around  this 
the  lower  part  of  the  spathe,  with  tho  division  in 
front,  folding  it  over  and  pressing  it  with  a  molding- 
tool  until  closed ;  curl  the  top  over  the  pistil,  grace- 
fully, and  it  is  finished,  and  will,  if  well  done,  be 
found  very  beautiful  and  graceful.  Fig.  9  shows 
the  finished  flower. 

THE  IRIS. 

The  wild  Iris  are  all  beautiful ;  the  rich  markings 
of  stripes  and  bands  are  easily  made  upon  a  white 
wax-ground;  and  this  is  one  of  the  most  imposing 
flowers. 

If  possible,  a  natural  flower  should  be  examined,  as  the  markings  upon  the 
petals,  and  the  peculiar  formation,  are  difficult  to  describe.  The  velvety  appear- 
ance of  the  rich  purple  petals  is  j^roduced  by 
breathing  upon  the  wax,  and  powdering  the  pur- 
ple powder  upon  the  surface  while  damp.  A 
cluster  of  these,  inclosed  between  two  of  its  own 
broad,  graceful  leaves,  as  shown  in  Fig.  10,  is  a 
beautiful  addition  to  a  basket  or  bouquet.  The 
wild  blossoms  are  smaller  than  the  cultivated. 
Bloom  the  M'hite  part  of  each  petal,  to  produce 
the  proper  degree  of  softness,  and  upon  the  two 
*  lower  fully-expanded  blossoms,  dust  a  very  little 
fine,  yellow  powder;  in  the  formation  of  this 
beautiful  flower,  much  depends  upon  the  care 
used  in  coloring,  which  produces  the  lovely 
effect. 

To  form  t\ie  Trailing  Arbutus,  Fig.  5,  cut  a  set  of  patterns  for  the  leaves,  as  in 
Fig.  11,  Nos.  1,  2,  3 ;  also,  for  the  flower,  No.  4.  The  latter  must  be  cut  accord- 
ing to  No.  5,  which  shows  the  corolla  split  open.  ILave  the  patterns  ready ;  first 
form  the  leaves  of  the  deep  yellow-green  shades,  using  the  lighter  colors  for  the 
small  young  leaves  ;  if  it  is  not  possible  to  obtain  a  mold,  or  yet  the  natm-al  leaf, 
which  wet  upon  the  under  side  answers  as  a  sort  of  mold,  shape  and  vein  with  a 
sharp  tool  or  the  pin ;  touch  all  the  leaves  with  raw  sienna,  rubbed  on  cai-efully 


The  Iris, 


HOUSEHOLD  ELEGANCIES. 


189 


with  the  "  stumper,"  and  color  the  under  side  with  the  same,  adding  a  very  little 
umber;  when  this  is.done,  cut  some  brown  thread  into  fine  scraps,  and  touching 
the  edges  of  the  leaves  and  all  the  stems  with  gum,  touch  them  to  the  threads 
until  they  are  covered  with  fine  thread- like  hair.  The  flowers  are  formed  of  the 
"  extra  heavy  "  white  wax  doubled,  according  to  No.  5,  colored  with  light  pink, 
and  spotted  and  striped  with  darker  shades  of  ]-ose ;  place  a  little  pellet  of  wax 
upon  a  green  wire-stem,  and  shaping  it  like  the  upper  part  of  No.  6,  A,  place 
the  corolla  around  it,  with  the  wax  pointed  at  the  end  of  the  wire,  B,  forming 
the  pistil ;  cover  this  point  with  yellow-green  wax.    Make  a  number  of  these 


Fig.  11. 

rose-colored  blossoms,  with  buds  of  several  sizes ;  then  proceed  to  put  on  the 
calyx,  cutting  each  one  like  No.  7.  Use  thick  wax  of  a  light  olive-gi-eeii  color, 
covering  the  wax  with  a  woolly  coating,  made  by  chipping  zephyr-worsted  into 
a  wool-like  powder. 

Fig.  5  shows  the  flowers,  buds,  leaves  and  trailing  habit  of  the  vine,  and  will 
serve  as  a  good  guide ;  but,  if  possible,  obtain  a  natural  specimen,  which  will 
show  the  true  rose-color  of  the  corolla,  and  the  peculiar  color  and  texture  of  the 
leaf. 

OXALTS. 

The  corolla  of  the  Oxalis  is  formed  of  six  petals  like  A ;  the  leaves  cut  from 
B ;  for  these  use  bright  green 
wax  and  long  green  wire.  Cut 
a  calyx  such  as  that  used  for 
star-flower;  then  taking  a 
piece  of  fine  green  wire,  place  a 
small  pellet  of  wax  upon  the 
end  with  a  few  stamens  of 
thread  pressed  around  it ;  and 
having  tinted  six  petals  of  a 
lilac  color,  or  bright  yellow,  roll 

them  a  little  until  nicely  shaped  Fig.  12.  Oxalis. 

and  curled,  and  place  them  upon  the  wax,  folding  one  in  the  other  as  seen  m  the 
flowers,  Fisf.  12. 


190 


HOUSEHOLD  ELEGANCIES. 


WAX-EKUIT. 

Many  persons  think  that  wax-flowers  require  fine  wax,  but  that  fruit  or  other 
objects  may  be  made  with  common  material,  inasmuch  as  they  are  entirely  cov- 
ered with  color,  and  are  large  in  form. 

This  is  a  great  error.  Fruit,  especially  the  smaller  kinds,  require  superfine, 
white  cake-wax,  to  give  them  the  beautiful,  velvety  or  satiny  surface,  peculiar  to 
the  natural  production.  Waxen  fruit  may  be  made  in  groups  to  form  objects  of 
great  beauty  and  effect,  especially  for  the  decoration  of  the  dining-room. 

In  giving  these  directions,  our  endeavor  will  be  to  reproduce  the  various  speci- 
mens in  as  pleasing  a  form  as  possible,  and  nothing  is  more  beautiful  than  the 
mingling  of  fruit  and  blossoms :  thus,  a  spray  of  the  w^hite  cherry-blossom  with 
green  leaves  and  the  bright  scarlet  and  yellow  cherries ;  or  the  beautiful  pink, 
rose-colored  and  white  apple-blossom,  with  a  handsome  piece  of  fruit ;  either  a 
golden-yellow  russet  colored,  or  rosy-cheeked  apple. 

We  have  frequently  thought,  when  called  upon  to  admire  a  collection  of  wax- 
fruit,  how  much  more  effective  and  beautiful  it  would  have  appeared  with  the 
blossoms  of  different  kinds  mingled  with  the  specimens,  and  trailing  gracefully 
around  the  handles,  and  hanging  over  the  sides  of  basket  or  vase,  for  here  the 
dalicate  and  refined  taste  of  the  true  artist  is  displayed. 

In  arranging  your  fruit,  therefore,  place  your  bright  oranges  against  the 
waxen  petals  and  rich  green  leaves  belonging  to  them.  The  strawberry,  with 
its  starry-eyed  blossoms  ;  the  blackberry,  in  long,  trailing  garlands  of  fruit,  flow- 
ers, and  green  and  crimson  leaves ;  the  yellow,  velvety  peach  and  its  lovely  pink 
flowers,  with  all  the  other  exquisite  blossoms,  of  fruit,  berry  or  melon. 

COLOES. 

Besides  the  particular  directions  given  for  each  particular  piece  of  fruit,  there 
are  some  general  principles  that  may  aid  in  giving  a  natural  appearance,  and 
also  in  affording  greater  ease  of  formation. 

The  wax  for  casting  lemons  should  be  tinted  with  pale  yellow  chrome,  and 
varnished. 

Walnuts  must  have  the  same  shade,  with  a  little  raw  umber  added. 

Strawberries  and  raspberries  should  have  a  slight  tint  of  lake  added  to  white, 
and  afterward  colored  of  the  proper  shade. 

Melons,  filberts,  must  be  cast  green,  and  colored  afterward,  with  the  proper 
markings  added. 

Greengages  a  whitish-green ;  afterward  tinted  with  bloom  of  blue-green. 
The  various  shades  of  green  are  best  obtained  by  a  mixture  of  yellow  chrome 
and  Prussian  blue,  lighter  or  darker,  as  required. 

In  casting,  the  following  articles  and  materials  are  required  :  — 

Two  vessels  of  water  —  hot  and  cold ;  a  small  china  or  other  porcelain  vessel, 


HOUSEHOLD  ELEGANCIES. 


191 


with  a  spout  (a  cup  such  as  is  used  for  drinking  in  the  sick-room  is  admirable, 
but  a  teapot  or  pitcher  will  answer)  ;  a  shallow  tin  saucepan,  and  a  towel ;  some 
old  soft  rags ;  wire  of  several  sizes,  and  camel's-hair  pencils  of  several  sizes ; 
some  pieces  of  soft  flannel,  a  little  crochet-cotton,  and  some  cloves;  also,  the 
half-charred  wicks  of  star  or  wax  candles,  for  the  blossom  in  the  end  of  the 
apple,  pear,  etc. 

These  colors  must  be  of  the  best  quality,  either  in  powder  or  tube  paints. 
Those  required  are  Prussian  blue,  light  yellow  chrome,  raw  umber,  burnt  umber, 
lake,  red  lead,  powdered  blue  and  white  for  blooming ;  a  bottle  of  mastic  var- 
nish, turpentine,  pale  green,  white  and  buff  down. 

CASTING. 

Commence  by  placing  the  mold  in  water  about  as  hot  as  can  be  borne  by  the 
back  of  the  hand,  soaking  it  until  saturated ;  which  will  require  about  as  long 
as  will  take  for  the  wax  to  melt  in  another  basin,  placed  in  a  basin  of  hot  water, 
using  care  not  to  allow  the  water  to  run  into  the  wax ;  when  melted,  color  of  light 
shade  and  stir  with  a  bone  spoon ;  then  take  the  mold  out  of  water,  and  wiping 
dry  inside  very  gently,  and  while  still  warm,  holding  it  in  the  left  hand,  dip  into 
it  with  the  other  the  melted  wax,  using  care  not  to  let  it  run  over  the  edge ;  then 
put  the  other  half  upon  it,  and  press  both  firmly  together;  moving  it  about  over 
and  over,  so  that  the  wax  may  cover  all  the  mold  alike.  It  may  be  held  thus 
until  cold,  or  plunged  into  a  basin  of  water,  still  holding  it  firm,  until  it  will  no 
longer  shake  from  side  to  side. 

MOLDS. 

Supposing  the  apple  were  the  fruit  to  be  molded,  and  it  is  perhaps  the  easiest 
of  any,  the  materials,  etc.,  required  for  the  molds  will  be :  Plaster  of  Paris,  of 
finest  quality ;  a  sheet  of  thin  tin,  cut  into  strips  two,  three,  and  four  inches 
broad ;  soma  fine,  damp  sand,  in  a  small  pan  or  basin ;  a  second  vessel,  such  as 
a  china  cup,  for  mixing  the  plaster ;  a  china  spoon,  if  possible,  and  a  knife  and 
some  water.  Then  take  the  apple  and  sink  it  into  the  sand,  placing  the  half 
which  has  the  stalk  on  it  downward ;  smooth  the  sand  around  it,  and  fix  one  of 
the  strips  of  tin  in  the  sand,  like  a  ring,  one  and  half  inches  from  the  sides  of 
the  fruit,  and  half  an  inch  above  the  top  of  the  apple;  next  take  the  cup 
and  mix  into  it  sufiicient  plaster  to  form  a  batter,  rather  thicker  than  cream ; 
pour  this  carefully  over  and  around  the  apple,  covering  it  entirely.  Place  away 
until  hard,  and  then  remove  the  ring  and  mold  from  the  sand,  disengage  the 
ring  carefully,  and  holding  the  mold  in  the  left  hand,  with  the  right  gently  dis- 
engage the  fruit,  and  trim  the  edges  smoothly  to  the  exact  half  of  the  apple ; 
upon  this  flat  edge  cut  out  four  holes,  upon  the  ends  and  sides,  to  admit  the  locks. 
This  forms  the  first  half.    For  the  second,  wipe  the  apple  free  from  sand,  and 


192 


HOUSEHOLD  ELEGANCIES. 


place  it  back  in  the  mold,  in  the  exact  position  it  occupied  before;  first 
painting  it  with  a  very  thin  coat  of  oil  and  tallow,  melted  together.  Clean  the 
cup  and  spoon  perfectly  clean,  and  fastening  the  ring  of  tin  around  the  mold 
tie  it  perfectly  tight  and  secure,  and  mixing  the  jjlaster  as  before,  pour  it  upon 
the  apple  and  mold.  The  edge  and  holes  should  also  be  painted  with  the  oil 
and  tallow. 

Molds  for  oranges,  lemons,  melons,  etc.,  are  formed  in  like  manner. 

Molds  for  cherries,  pears,  plums,  strawberries,  figs,  raspberries,  and  all  other 
fruit,  either  too  hard  or  too  soft  to  remove  from  the  halves  of  the  mold,  should 
be  well  oiled  before  sinking  into  the  sand,  and  when  removed  from  the  first 
half,  shonld  be  well  cleansed  from  all  grit,  before  setting  it  into  the  half  again ; 
the  stems  of  cherries,  plums,  etc.,  must  be  removed  before  molding,  and  that 
end  sunk  into  the  sand  first ;  great  care  must  also  be  taken  with  all  imperfec- 
tions in  the  fruit,  so  that  it  may  deliver  from  the  mold,  as  when  placed ;  for  the 


Fig.  13.  Molds. 


curiously-formed  or  imperfect  fruit  is  often  more  natural  than  those  perfectly 
symmetrical.  Walnuts,  peaches,  apricots,  nectarines,  acorns,  and  nuts  of  all 
kinds,  should  be  well  oiled  before  placing  in  the  sand. 

It  is  sometimes  desired  to  form  a  half  of  a  piece  of  fruit,  and  this  is  exceed- 
ingly beautiful.  The  molds  for  such  pieces  are  formed  in  a  similar  manner,  ex- 
cepting that  they  are  marked  either  by  cutting  with  a  knife,  or  by  tying  a 
thread  round  the  desired  half  of  the  fruit,  and  sinking  that  half  into  the  sand. 
Take  a  cast  of  the  other  half  to  the  line  round  the  fruit,  or  rather  beyond ; 
reipove  it  as  before  directed,  cutting  the  lock-holes,  and  after  trimming  and 
oiling  the  edges,  etc.,  well,  put  the  fruit  back  into  the  mold  again,  in  its  exact 
position,  and  then  cut  the  half  off  with  a  sharp  knife,  replacing  any  seeds  or 
pips  that  have  been  cut  or  dislodged.  Then  oiling  the  top  of  the  half  in  the 
mold,  place  a  ring  of  tin  around  this  half  of  the  mold,  to  keep  it  in  position,  and 
pour  the  plaster  upon  it  for  the  other  half,  which,  when  set  will  be  found  a  true, 
representation. 

Some  kinds  of  small  fruit,  such  as  raspberries,  etc.,  are  formed  solid ;  that  is, 
the  two  half-molds  are  tied  together,  and  the  hot  wax  poured  intf^  a  small  hole 
at  the  calyx-end  of  the  fruit,  shaken  about  for  an  instant,  and  then  all  the  sur- 


HOUSEHOLD  ELEGANCIES. 


193 


plus  wax  poured  out  again,  and  when  cold,  the  halves  are  separated  and  the 
berries  come  out  whole  and  clear.  Red,  white  and  black  currants,  together  with 
grapes  and  other  fruit  of  the  same  kind,  are  made  by  glass  balls  and  not  molded. 

In  dipping  these  glass  balls,  of  any  kind,  proceed  thus :  Having  stems  of 
wire  covered  with  wax,  or  green  silk-covered  wire,  cut  them  into  suitable  lengths, 
and  placing  the  tips  into  melted  wax,  insert  into  the  hole  in  the  ball ;  in  a  mo- 
ment the  wax  will  cool  and  the  stem  be  firmly  fixed ;  then  dip  each  ball  into 
melted  wax  of  proper  color,  and  turn  up  so  that  any  extra  wax  will  run  down 
upon  the  stem. 

Molds  of  more  than  two  parts. — Among  the  fruits  that  require  more  than  two 
parts,  are  corn,  melons,  cucumbers,  pineapple,  pomegranate,  etc. 

The  same  principle  is  to  be  observed  in  these  as  in  the  two-part  molds;  but 
it  is  sometimes  necessary  to  have  three  or  four  part  molds,  owing  to  irregulari- 
ties in  the  fruit. 

The  cucumber,  for  instance,  requires  three  molds,  as  does  also  corn  and  many 
other  kinds  of  fruit,  vegetables,  etc.  They  are  made  thus :  Place  the  object 
into  the  sand,  leaving  about  one-third  visible,  and  then  mold  it,  which  will 
represent  one-third  of  the  object ;  C,  Fig.  15.    After  which  oil  it  and  place  it 


Fig.  14.  A  Fig.  15.  C 


upright,  both  the  fruit  and  the  mold  it  is  in,  into  the  sand  ;  B,  Fig.  15.  Cover  the 
fruit-part  with  tin,  and  then  pour  in  plaster  and  thus  take  a  mold  of  the  part 
remaining.  Do  the  other  part  in  the  same  way,  which  will  complete  the  three 
parts,  and  form  an  entire  mold  like  A,  Fig.  15,  which  is  the  top  view  of  it.  Let 
the  plaster  get  well  set  before  removing  it,  at  each  stage. 

FOKMING  THE  FKUIT. 

As  we  have  observed,  it  is  as  necessary  to  use  fine,  pure  wax  for  fruit  and 
other  large  objects,  as  for  flowers.  Procure  the  superfine,  white  cake-wax  and 
proceed  to  melt  it  in  small,  deep  porcelain  vessels  placed  in  water  over  a  moder- 
ate fire ;  at  least  it  should  melt  slowly.  When  entirely  liquefied,  put  in  it  a  thifi 
muslin  bag  containing  the  coloring-matter.  For  lemons,  using  deep  chrome 
yellow;  apples,  chrome  or  ochre;  peaches,  yellow  chrome  and  flake-white,  one- 
fourth  the  latter ;  for  green  fruit,  green  chrome,  etc.,  varying  and  changing  the 
shades  as  the  case  requires.  The  wax  must  be  merely  melted,  never  allowed  to 
boil.  The  paint-powders  must  be  carefully  added,  and  never  in  sufiicient  quan- 
tity to  make  the  wax  thick  and  rough,  for  it  is  a  far  better  plan  to  color  with 
13 


194 


HOUSEHOLD  ELEGANCIES. 


the  tube-paints  than  to  add  too  much  of  the  powder,  which  will  certainly  pro- 
duce roughness. 

We  shall  soon  give,  u.nder  title  of  "  plaster-work,"  full  directions  for  forming 
molds  in  plaster.  These  are  what  are  now  required.  Supposing  that  a  collec- 
tion of  fruit  is  to  be  made,  such  as  a  vase  or  basket  for  dining-room  adornment, 
we  will  proceed  to  describe  the  method  of  forming  each  separate  piece,  and 
arranging  it  in  suitable  form  for  the  object  in  view. 

PLUMS. 

Of  these  there  are  several  different  varieties,  and  a  mold  should  be  taken  of 
each  kind,  as  it  comes  in  season  when  the  wax  piece  itself  may  be  at  once  made, 
or,  if  preferred,  a  written  description  made  of  certain  peculiarities ;  a  leaf 
pressed,  and  a  twig  preserved,  etc. ;  then  these  placed  with  the  mold  and  pre- 
served until  such  time  as  the  collection  is  to  be  formed. 

For  the  large,  purple  egg-plum,  add  to  the  melted  wax  sufficient  drop-red  pow- 
der to  color  it  a  crimson  ;  add  to  this  purj3le  tube-paint  until  a  rich,  deep  purple 
is  obtained.  Oil  the  inside  of  the  mold  by  gently  "  dabbing,"  or  patting  it  with 
a  pad  of  soft,  old  cotton  cloth,  or  cotton  batting  dipped  in  oil,  in  which  a  very 
little  tallow  has  been  melted.  Have  the  mold  placad  in  such  a  position  that  the 
locks  may  be  closed  together  without  any  difficulty,  or  the  least  moving  from 
side  to  side ;  holding  the  mold  in  the  left  hand,  with  the  right,  pour  the  colored 
wax  carefully  into  it,  and  quickly  placing  the  lid  down  upon  it,  hold  them 
together  firmly  as  possible  without  the  slightest  change,  by  pushing  or  sliding 
it;  then  with  the  lid  thus  pressed  closely  down,  hold  the  two  parts  locked 
tightly  together,  and  turning  them  from  side  to  side,  shake  quickly  until  you 
know  by  the  sound  that  the  liquid  wax  has  hardened ;  then  set  aside  until  per- 
fectly cold,  which  will  take  place  in  about  twenty-five  minutes,  more  or  less, 
according  to  the  size  of  the  fruit ;  but  this  is  ascertained  certainly  by  laying  the 
hand  upon  the  mold,  which,  if  cool,  may  be  opened  by  drawing  the  bottom  and 
lid  apart,  with  a  steady  pull,  in  order  not  to  break  the  edges ;  scrape  the  line  or 
seam  of  union  with  a  sharp,  narrow-bladed  knife,  cutting  in  a  slanting  direction, 
and  afterward  polish  with  a  soft  cloth  wet  with  turpentine. 

The  plum  should  be  smooth,  even,  and  without  flaw  or  crack,  the  ridge  upon 
the  side  being  carefully  trimmed  and  rounded,  as  in  the  natural  plum.  The  form 
made  perfect,  proceed  to  paint  the  surface  with  a  plum-purple ;  for  although  the 
color  incorporated  with  the  wax  is  necessary  for  the  foundation,  the  touches  of 
color  afterward  applied,  gives  a  wonderfully  soft,  natural  appearance  to  the 
fruit.  In  applying  this  color,  use  a  small  "stumper"  brush,  and  the  powder- 
colors  before  recommended  for  wax-flowers,  or  the  tip  of  the  finger  for  small 
fruit,  is  still  more  effective,  producing  a  soft,  blended  appearance.  In  some 
cases,  however,  it  may  be  found  necessary  to  use  liquid  paint;  and  where  this 


HOUSEHOLD  ELEGANCIES. 


195 


is  the  case,  take  a  Poonah  (bristle)  brush,  and  dipping  the  tip-end  into  thin,  gum- 
arabic  water,  let  a  drop  fall  upon  the  palette  near  the  powder-color ;  then  rub  them 
thoroughly  until  as  thick  as  syrup  and  perfectly  smooth.  Never  dip  the  brush 
in  water  while  painting,  as  it  will  cause  the  work  to  appear  streaked.  Holding 
the  brush  upright,  in  any  case,  and  applying  the  color  with  rapid,  even  strokes,  let 
the  color  merge  into  a  carmine-purple  towards  the  end,  and  make  very  deep  and 
blue  upon  one  side ;  to  produce  the  bloom,  breathe  upon  the  surface  or  heat  it 
moderately  and  dust  with  purple  powder.  Then  rub  the  end  slightly  to  give  the 
polish  seen  upon  some  parts ;  form  a  stem  of  wire  covered  with  brown  wax,  as 
described  for  flowers,  and  varnish,  or  use  a  natural  one.  The  eg^-plum  is  fine 
molded  in  wax,  but  must  be  of  a  blue-purple  color.  Greengages  must  be  care- 
fully colored  with  chrome-yellow,  and  a  little  green  powder  added ;  then  touched 
up,  after  being  molded,  with  the  colors  prepared,  as  described  for  the  purple 
plums.  Peaches  are  colored  in  the  casting  with  chrome;  then  taking  a  little 
carmine,  mix  it  as  before  described,  and  imitate  as  nearly  as  possible  the  pink 
tinge  upon  the  sides.  To  produce  the  down,  place  in  a  warm  spot  until  the  sur- 
face is  thoroughly  heated,  but  not  soft  or  melted,  and,  covering  the  palms  of  the 
hands  with  arrow-root,  in  fine  powder,  roll  the  peach  between  the  hands  until 
entirely  coated,  and  handle  as  little  as  possible. 

Color  some  peaches  of  a  greenish-yellow,  others  yellow  with  very  little  pink, 
others  with  a  pui-plish  tinge  in  the  carmine  upon  some  parts,  and  others  again 
of  a  rosy  pink ;  thus  producing  variety  and  imitating  the  different  varieties. 
Then  mold  only  the  one-half  of  one  or  two ;  color  the  inside  with  yellow  upon 
the  cut  edge,  and  a  deep  carmine  in  the  cavity  holding  the  stone,  having  taken 
a  molded  impression  of  the  stone ;  in  one-half  place  a  stone,  and  leave  the 
other  without;  then  varnish  the  inner  part  with  clear  Demar  varnish,  and  a 
perfect  imitation  of  a  cut  peach  is  obtained.  Oranges  and  lemons,  after  being 
colored,  must  be  varnished  with  Demar  varnish,  or  polished  with  a  soft  pad. 
Grapes  are  not  cast  in  plaster-molds,  but  are  made  by  rolling  the  wax  into  balls 
of  the  proper  shape ;  or  else  the  "  grape-glasses,"  to  be  purchased  at  the  stores 
where  other  wax-materials  are  sold ;  these,  of  either  kind,  are  then  furnished 
with  stems,  and  each  one  dipped  into  melted  wax,  in  which  lake  and  Prussian 
blue  have  been  mixed,  as  for  plums ;  they  are  then  touched  up  with  paint,  and 
warming  the  surface  a  little,  fine  powdered  paint  of  a  proper  shade  is  dusted 
upon  it,  from  a  finely-perforated  dredging-box.  Besides  the  blue  and  crimson- 
purple  grapes,  there  should  be  some  green  ones,  made  with  greenish-colored 
paint.  The  grapes,  all  formed,  are  arranged  in  clusters,  the  smaller  ones  being- 
placed  at  the  end,  and  the  larger  gradually  increased  in  size  to  the  top  of  the 
bunch;  or  several  small  clusters  may  be  formed" into  a  large  one  as  in  the  nat- 
ural bunches. 

Apples  are  of  various  colors  and  shapes,  and  might  better  be  copied  from  na- 
ture.   The  crimson  ones  are  colored  with  carmine,  and  a  bright,  beautiful  red 


196 


HOUSEHOLD  ELEGANCIES. 


apple  is  made  with  vermilion  or  carmine  upon  a  deep  lemon  color.  Yellow  ones 
are  colored  with  chrome  or  Naples  yellow,  according-  to  the  shade  required,  and 
a  dull  yellow  is  produced  with  yellow  ochre  and  a  touch  of  chrome  mixed  in  it. 
As  this  fruit  requires  a  vast  deal  of  finishing-up,  the  principal  part  of  the  color- 
ing is  done  with  the  brush,  a  fine  camel's-hair  pencil  answering  best  for  the 
streaks,  and  the  "  stumper  "  for  blending  the  blush  color  upon  the  "  warm  side," 
as  the  "  red  cheek  "  of  the  apple  is  termed.  When  properly  tinted,  give  a  nat- 
ural spat  here  and  there  of  brown,  with  a  bruised  appearance  upon  one  or  more, 
by  rubbing  a  little  umber  or  raw  sienna  or  ochre  with  the  "body-color."  The 
coloring  finished,  give  a  coat  of  Demar  varnish,  and  fasten  the  calyx  in  the  en4, 
using  a  tea-leaf,  a  piece  of  sere-colored  leaf,  a  fragment  of  tobacco,  cigar  being 
the  best,  a  clove  or  piece  of  cotton,  and  m  the  other  end  a  stem,  using  one  taken 
from  the  natural  fruit. 

Small  fruit,  such  as  strawberries,  blackberries,  raspberries,  etc.,  are  made  of 
tiny  balls  of  wax,  pressed,  while  soft,  upon  a  large  one  of  the  proper  form ;  then 
having  inserted  a  little  wire-stem  into  the  large  end,  dip  into  melted  wax,  in 
which  carmine,  vermilion,  or  lamp-black  has  been  mixed  ;  touching  up  afterward 
with  moist  color,  and  varnishing  in  case  of  blackberries ;  in  raspberries  touching 
with  dry  powder.    See  clusters  for  further  directions. 

Currants  are  made  of  balls  of  wax  in  which  quite  a  large  portion  of  fir-balsam 
ii^  mixed,  and  sufficient  carmine  and -vermilion,  mixed, 
tied  in  a  muslin  case  to  impart  a  brilliant  and  clear 
scarlet  color.  These  are  then  finished  with  slender 
little  green  wire-stems,  and  clustered  on  a  larger  wire ; 
then  varnished. 

Pears  are  a  beautiful  fruit,  and  must  be  colored  in 
the  same  manner  as  apples ;  then  in  case  of  some  yellow 
varieties,  a  fine  hair-pencil  is  dipped  in  black  color, 
and  minute  specks  dotted  on  the  surface.  Both  pears 
and  apples  appear  well,  cut  in  sections,  and  the  inner 
Fig.  IG.  Cluster  of  Currants,  surface  and  ends  exposed.  Both  outside  and  in  must 
be  varnished,  and  the  ends  finished  with  calyx  and  stem. 

Watermelons  are  exceedingly  fine,  when  well  formed  and  colored.  Of  course 
it  is  almost  imposible  to  take  a  plaster  impression  on  account  of  the  moisture, 
but  still,  it  may  be  accomplished ;  and  very  fairly,  and  in  some  cases  we  have 
succeeded  in  taking  perfect  impressions,  we  mean  of  a  cut  melon — a  whole  one 
is  readily  formed.  A  longitudinal  slice  is  the  most  beautiful,  but  a  section  cut 
one-third  through  around  the  melon,  appears  well.  Have  the  plaster  thoroughly 
mixed,  and  proceed  as  in  other  cases,  using  care  to  select  a  melon  barely  ripe, 
for  the  heart  may  be  formed  afterward,  with  the  knife  and  molding-tools, 
making  rough  edges  along  the  center  of  the  heart,  with  indentations  where  the 
seed  have  dropped,  and  pricking  little  fissures  and  small  holes  through  the  sur- 


\ 


HOUSEHOLD  ELEGANCIES. 


197 


face.  Natural  seed  may  be  introduced  in  some  parts,  pressing  the  points  into 
the  wax,  or  fastening  edgewise  with  mucilage.  In  coloring,  the  skin  is  painted 
a  dark  rich  green,  mottled  with  a  lighter  shads,  and  the  light-green  line  showing 
upon  the  white  of  the  rind.  The  rind  is  painted  with  ivory  or  flake  white, 
which  gradually  becomes  tinted  witli  pink,  until  upon  tlie  extreme  edge,  the 
lovely  and  peculiar  tint  peculiar  to  the  heart  of  the  watermelon  is  obtained  by 
mixing.    The  whole  is  finally  varnished. 

Cantaloupes  are  cast  .in  the  same  manner ;  select  a  firm  green  melon,  and 
remove  the  seed,  some  of  which  should  be  dried  and  varnished,  and  used 
afterward  upon  the  edge  of  the  slice  of  wax-melon;  this  is  colored  in  green, 
white  and  yellow,  upon  the  markings  peculiar  to  the  rind,  and  upon  the  cut 
edges,  with  green  upon  the  edge  of  the  rind,  merging  into  a  yellow-green ;  then, 
to  buff,  with  a  few  of  the  pretty  seed  upon  the  inner  edge. 

Small  muskmelons  are  a  beautiful  addition  to  a  collection  of  fruit.  The  im- 
pressions should  be  taken  entire,  and  if  well  done,  each  fine  line  and  pretty  curl 
upon  the  rind,  like  the  marks  on  some  beautiful  shell,  will  be  clearly  visible, 
and  may  be  painted  so  perfectly,  that  it  will  be  almost  impossible  to  tell  the 
natural  from  the  wax  melon. 

Some  persons  admire  tomatoes,  cucumbers,  etc.,  mingled  with  fruit,  etc. ;  but 
we  cannot  think  it  good  taste  to  introduce  these  vegetables  in  a  collection  of  beau- 
tiful fruit.  Should  any  desire  to  form  them,  however,  the  molds  are  taken  in 
the  manner  we  have  described  in  the  first  part  of  this  section,  and  the  coloring 
is  applied  in  the  same  manner.  AVe  would  remark  here,  that  if  an  ear  of  corn 
is  desired  (and  it  is  really  a  pretty  object),  the  mold  must  be  in  three  or  more 
parts  ;  as  it  will  be  found  impossible,  if  the  grains  are  irregular,  to  get  the  ear 
from  the  mold  without  breaking  the  one  or  the  other ;  to  obviate  this,  make 
the  mold  in  three  parts. 

A  collection  of  vegetables  alone,  corn,  tomatoes,  cucumbers,  peas  in  the  pod, 
green  and  red  peppers,  carrots,  radishes,  etc.,  accurately  molded  and  naturally 
colored,  when  grouped  together  with  leaves,  tendrils,  etc.,  and  covered  with  a 
shade,  form  a  beautiful  ornament  for  a  dining-room  bracket,  and  is  well  worthy 
of  being  made.  A  stand  of  cake-jelly,  ice-cream,  etc.,  is  likewise  a  most  popu- 
lar and  appropriate  companion  to  a  fruit  or  vegetable  wax-piece,  and  is  more 
easily  made  than  would  be  supposed.  The  first  collection  the  waiter  ever  saw 
of  the  latter  two  was  in  the  window  of  a  confectioner's  store,  and  the  imitation 
was  so  perfect  that  we  supposed  they  were  natural  and  wondered  at  tlieir  being 
covered  with  glass. 

Cake  may  be  molded  either  in  an  entire  loaf  or  in  the  slices ;  in  our  own 
case,  we  prefer  the  latter.  Supposing  a  stand  of  various  kinds  is  to  be  imitated, 
such  as  pound,  white,  sponge,  marble,  jelly  and  fruit  cake,  the  slices  are  formed 
of  similar  shape  and  size,  with  appropriate  color  added,  and  afterward  painted 
and  cut  into  proper  form ;  the  icing  upon  the  upper  part  is  formed  upon  the  top 


198 


HOUSEHOLD  ELEGANCIES. 


with  purest  white  paint,  which  upon  the  cut  edge  must  be  pricked  and  indented 
with  a  pointed  tool,  until  the  desired  roughened  appearance  is  produced ;  the 
figures,  which  it  must  be  remembered,  are  but  sections  of  a  whole,  as  seen  upon 
a  cut  slice,  are  formed  thus :  Obtain  a  small  metal  syringe,  which  draw  full 
of  liquid  white  wax ;  wrap  a  woolen  cloth  around  it,  in  order  to  retain  the 
heat,  and  that  it  may  be  handled  without  burning  the  fingers ;  then  holding 
this  in  the  left  hand,  in  a  perpendicular  manner,  with  the  point  held  directly 
over  the  top  of  the  slice,  which  has  been  painted  white  as  explained  above, 
press  the  handle  down  and  eject  the  liquid  wax  from  the  point  in  drops,  which 
must  be  allowed  to  cool  slightly ;  then  another  is  dropped  upon  this,  and  so  on, 
until  of  the  proper  form  and  height ;  figures,  or  parts  of  them,  must  be  f orme'd 
by  passing  the  syringe  over  the  surface  in  lines  and  circles  ;  or  if  a  figure  is 
considered  appropriate,  where  a  broad  slice  is  imitated,  the  icing  may  be  formed 
into  flowers,  leaves,  and  other  devices .  used  upon  cakes.  AYhen  these  figures 
become  cold  and  stiff  they  must  be  painted  white ;  directly  beneath  this  white 
upon  the  cut  edge,  paint  a  line  of  dark-brown,  shaded  below  into  a  yellowish 
brown,  produced  with  umber  and  sienna ;  this  forms  the  brown  crust  upon  the 
upper  part  of  the  cake,  but  may  be  continued  upon  the  side  and  bottom  of  the 
cake,  gi'owing  deeper  until  a  line  of  deep  purple-crimson  shows  the  layer  of 
jelly,  which  again  grows  lighter  until  it  blends  with  the  next  cake ;  this  jelly  is 
varnished,  but  the  cake  is  marked  into  fissures.  There  should  be  about  a  half- 
dozen  of  these  layers  ;  the  bottom  is  a  brown  crust. 

Roll  jelly-cake  is  formed  in  the  same  manner,  but  in  circles — the  smallest  at 
the  center ;  both  cake  and  jelly  forming  a  spiral  line  from  the  center  to  the  iced 
circle  upon  the  outside. 

Marble-cake  is  colored  in  brown  and  yellow,  each  spot  shaded  and  mottled 
with  several  shades  of  each  color ;  a  few  whitish-yellow  streaks  are  an  im- 
provement. 

White  or  delicate  cake  is  colored  with  white,  tinted  with  chrome-yellow. 

Small  cakes  may  be  formed  of  various  sizes,  but  from  the  explanations  and  de- 
scriptions we  have  given,  we  believe  a  person  of  taste  and  ingenuity  may  be  able 
to  form  any  variety  of  cake  desired ;  and  when  carefully  formed  and  colored, 
there  is  not  a  specimen  of  fancy  wax-work,  which  elicits  such  enthusiastic  praise 
or  is  considered  such  a  "  wonderful  achievement."  Ice-cream  is  best  formed  by 
using  a  part  of  one  of  the  ten  molds  used  for  forming  it  when  frozen ;  the  end 
or  side  is  well  oiled  with  whale  oil,  in  which  a  little  tallDw  is  melted,  and  the 
melted  wax  poured  upon  it ;  when  cool,  this  may  be  readily  removed,  and  when 
colored  white  or  pink  and  placed  upon  a  pretty  saucer  or  glass,  with  some 
shaved  pieces  colored  to  correspond  and  placed  beneath  it,  will  appear  perfectly 
natural. 

Jelly  is  more  difficult  to  form ;  the  melted  wax  must  contain  one-half  its  bulk 
in  balsam-fir,  and  sufficient  carmine  or  chrome,  in  a  bag,  to  color  a  clear  ruby  or 


HOUSEHOLD  ELEGANCIES. 


199 


amber  color  ;  these  are  allowed  to  become  almost  cold,  and  are  then  dropped  in 
large  pieces,  from  the  point  of  a  spoon,  into  crystal  jelly-glasses.  A  stand  with 
an  ornamental  tray  upon  the  bottom,  containing  a  stand  with  several  slices  of 
cake,  a  saucer  of  two  colors  of  ice-cream,  and  a  glass  with  yellow  and  red  jelly, 
is  a  beautiful  object.  Supposing  the  first  slice  is  pound-cake ;  it  is  colored  of  a 
deep,  bright  yellow  color,  and  pricked  and  pressed  into  the  proper  honey-comb 
appearance,  natui-al.  The  yellow  tint  is  started  just  below  the  lightest  shade  of 
yellow  brown  upon  the  crust.  The  icing  and  crust  answer  for  any  of  the  varie- 
ties, but  as  great  a  variety  as  possible  should  be  made  in  forming  a  plate  full ; 
and  it  may  be  well  to  observe  here,  that  in  casting  any  large  pieces,  it  is  as  well 
to  form  the  inner  portion  with  plaster,  clay  or  other  inexpensive  material,  merely 
dipping  into  liquid  wax,  colored  or  white,  so  that  the  outer  surface  is  thoroughly 
coated  with  wax.  Where  cost  is  a  "  desideratimi "  this  may  be  worthy  of  at- 
tention. 

Fruit-cake  is  colored  of  a  very  dark  brown  ;  the  currants  are  formed  of  wax, 
colored  black,  twisted  or  turned  between  the  fingers  into  little,  rounded,  irregu- 
lar balls,  pressed  into  shape  with  the  pin.  The  raisins  are  formed  of  pieces  of 
wax  rolled  into  proper  shape  and  colored  with  burnt  umber ;  and  a  little  carmine 
rubbed  into  some,  in  order  to  impart  a  purplish  hue ;  the  molding-pin  will  crease 
and  indent  these  into  the  natural  form,  seen  by  examining  natural  ones ;  some 
should  be  cut  in  half,  and  here  a  change  is  made ;  the  cut  part  being  painted  of 
a  lighter  color  and  varnished,  and  seeds  of  natural  raisins  introduced.  Citron 
is  made  by  cutting  slips  of  wax  and  coloring  the  proper  citron-green,  varnish- 
ing the  cut  part,  and  dusting  the  outer  edge  with  white  powder ;  holes  are  then 
cut  in  the  cut-surface  of  the  cake,  and  the  fruit  introduced ;  after  covering  the 
slice  naturally,  the  surface  must  be  held  near  the  lamp  until  warmed  sufficiently 
for  the  whole  to  form  one  entire  mass ;  the  fissures  and  honey-comb  appearance 
are  then  formed  with  the  proper  tools. 

Jelly-cake  is  made  like  pound-cake  and  then  painted  in  stripes,  first  yellow 
with  the  crust  and  icing  above,  then  a  tinge  of  crimson  upon  the  yellow,  as  when 
the  jelly  soaks  into  the  substance. 


CLUSTEKS  OF  FRUIT  AND  BLOSSOMS. 

Having  formed  the  apples  of  proper  variety,  or  perhaps  several  of  them  of  dif- 
ferent colors  and  sizes,  in  pale  green,  yellow,  scarlet-streaked,  etc.,  according  to 
nature ;  tint  each  one  according  to  taste  witli  raw  umber  and  carmine,  or  lake ; 
the  flower-end  may  have  a  clove  heated  and  pressed  into  the  wax,  using  care  not 
to  mar  the  cast ;  then  make  a  stem  of  covered  wire  dipped  in  wax  colored  green, 
touching  it  up  with  burnt  sienna.  Next  add  the  flowers  and  a  cluster  of  leaves 
of  two  sizes,  and  shades  of  apple-green. 


200 


HOUSEHOLD  ELEGANCIES. 


Fig.  17. 


The  blossom  is  made  by  cutting  a  pattern  A 
from  diagram  A,  for  the  petals,  and  for  each  '  \  ^ 

blossom,  cutting  five  of  these  from  white  wax. 
Bloonpi  them  upon  the  upper  part  from  the  line 
D,  on  each  side,  with  a  mixture  of  Chinese-white 
and  arrow-root;  tinge  with  pink.  Mold  each 
one  carefully  upon  the  finger,  rolling  the  edges 
until  they  crinkle,  and  hollowing  them  in  the  mid- 
dle ;  the  lower  half  press  with  the  pin  on  the  wrong 
side,  thus  forming  a  rib  or  fold.  Tint  upon  some  parts  with  a  deeper  color, 
made  by  mixing  rose-madder  'and  crimson-lake,  shading  of£  to  white  or  very 
light  pink.  Then  take  a  stem  of  green-silk  wire ;  put  a  little  knob  of  wax  on 
the  end,  and  press  on  it  twelve  stamens  made  like  Fig.  B,  by  dipping  thread  into 
gum,  and  then  touching  the  tips  with  yellow  chrome ;  bind  them  round  with  a 
little  strip  of  green  wax,  and  then  arrange  the  five  petals  at  regular  distances ; 
this  done,  arrange  the  sepals  of  the  calyx,  cut  Fig.  C,  from  light  green  wax, 
double,  dusted  with  white  or  buff  "down  ;  "  place  each  one  so  that  it  will  show 
between  the  petals. 

One  or  two  of  these  calyxes  should  be  without  petals,  and  only  the  stamens  re- 
main ;  others  with  a  petal  or  two  gone.  Touch  the  stem  with  down ;  and  the 
large  branch  stalk,  holding  the  fruit,  flowers  and  leaves,  should  be  varnished  and 
colored  with  sepia. 

The  wild  crab-apple  blossoms,  leaves,  and  charming  clusters  of  fruit,  of  the 
green  and  yellow  colors,  with  the  beautiful  dwarf  Siberian  crab,  with  scarlet 
and  yellow  fruit,  hanging  on  long  stems,  will  be  found  the  most  perfect  speci- 
mens that  can  be  formed,  and  will  add  a  charm  to  the  entire  group.  The  direc- 
tions already  given  will  be  found  an  all-sufficient  guide  in  making  these,  with 
a  branch  of  natural  flowers  and  fruit  to  guide  in  giving  color,  etc.  The  j^eacli 
and  blossoms  arranged  in  the  same  manner  are  likewise  equally  beautiful.  Color 
the  petals  with  rosy  pink,  and  place  a  number  of  buds,  some  closely  shut,  others 
half  expanded  on  the  spray,  as  the  buds  are  one  of  the  prettiest  features. 

The  orange  and  lemon  are  never  so  pretty  as  when  united  with  their  lovely, 
waxy  blossoms  and  rich  foliage. 

The  strawberry,  in  clusters,  is  lovely ;  the  starry-white 
/  blossoms  and  scarlet  or  crimson  fruit  forming  a  charm- 

ing contrast,  mixed  with  the  light,  soft  leaves. 

After  casting  several  clusters  of  strawberries  in  white 
^nlK-l^^,  wax  from  the  natural  molds,  making  them  of  various 

sizes,  proceed  to  paint  them  with  carmine,  in  fine  powder, 
mixed  with  turpentine  or  gum-water,  shading  off  in  some 
places  to  almost  white,  or  a  delicate  flesh-tint.    The  large 


Fig.  18. 


berries.*^^  Straw-  ^^.^^^  varieties  require  one-half  the  berry  to  be  colored 


HOUSEHOLD  ELEGANCIES.  201 

with  a  mixture  of  lake  and  crimson,  the  other  shaded  off  to  a  yellowish  flesh- 
color,  made  by  mixing  chrome  and  red  lead.  The  seed-specks  upon  the  surface 
are  formed  with  bright  yellow  chrome  put  on  in  dots.  When  dry,  varnish  with 
Demar.  The  stalks  should  be  formed  of  silk  or  cotton  covered  wire,  dipped  in 
green  wax  or  covered  as  in  flower-stems ;  heat  the  end  of  the  stem  in  the  lamp, 
and  then  insert  into  the  large  end  of  the  berry.  Then  place  on  the  calyx,  one 
cut  like  Fig.  A,  curl  back  the  sepals  and  touch  with  down.  Mold  the  leaves  on 
a  gilt  leaf-mold  or  from  nature,  painting  all  A      ^  B 

the  little  spots  on  leaves  or  stems. 

The  blossom  is  not  difficult  to  form ;  cut 
from  Fig.  C  the  five  petals,  using  clear  white 
wax,  and  cutting  with  the  grain  from  top  to 
bottom,  always.    In  some  flowers  there  are 

six  petals,  and  to  follow  nature,  this  nmst  be  ^         Fig.  19. 

imitated.  When  sufficient  are  cut,  bloom  them  with  Chinese-white  and  arrow- 
root, well  rubbed ;  then  mold  the  edges  and  roll  the  center  into  a  slight  hollow, 
using  the  head  of  the  small  pin.  Form  he  stamens  of  fine,  white-waxed  cotton, 
dipping  the  tops  into  gum,  and  then  in  fine  chrome,  knocking  off  all  that  hangs 
loosely ;  mix  these  with  half  as  many  without  the  powder,  and  have  twenty  of 
them,  together,  in  the  center  of  each  blossom,  placing  them  upon  a  little  pellet  of 
wax  placed  on  a  slender  stem ;  then  arrange  the  petals  and  calyx  so  that  they 
alternate,  and  the  sepals  of  the  calyx  show  between  the  petals.  The  calyx  must 
be  bloomed  with  light  green  powder  on  both  sides,  molding  each  point  and  curv- 
ing them  naturally.  The  buds  are  formed  of  the  same  petals  as  the  blossoms, 
only  curling  them  in  a  half-closed  form.  Tinge  each  one  with  a  little  green 
mixed  with  white  powder.  Finish  by  mingling  the  fruit  and  blossoms  together, 
placing  at  the  base  of  their  stems  several  leaves,  so  that  in  groups  or  singly  they 
may  imitate  nature. 

The  blackberry  is,  perhaps,  the  most  easily  formed  of  any  small  fruit,  and  yet 
is  unrivaled  in  beauty  and  grace.  With  its  pale,  tinted  blossoms,  green  buds, 
and  its  rich  berries  so  black  and  glossy,  and  with  such  a  number  clustered  upon 
a  stem,  it  forms  one  of  the  most  beautiful  additions  to  a  group  of  berries,  or  a 
collection  of  fruit.  To  form  a  cluster,  several  natural  berries  must  be  cast  from 
white  wax,  colored  with  Prussian  blue  and  lake,  tinted  to  the  natural  color,  add- 
ing drop-black  for  the  very  ripe  ones ;  then  varnish,  and  when  dry  stalk  them  as 
described  for  the  strawberry.  Form  the  calyx  from  Fig.  A,  molding  them 
thoroughly  and  blooming  with  light  green. 

The  blossoms  are  formed  of  six  petals,  cut  like  Fig.  C,  bloomed  with  white  and 
well  rolled  and  molded.  Arrange  on  a  stem,  as  described  for  other  berries, 
placing  the  innumerable  stamens  formed  of  fine  cotton ;  place  a  number  on  the 
wax  ball  and  tip  with  green;  surround  by  a  number  more  tipped  with  sepia  or 
umber.    Then  place  the  six  petals,  blooming  them  again,  in  place,  with  purple- 


202 


HOUSEHOLD  ELEGANCIES. 


Fig.  20.  Raspberries. 


lake  added  to  the  white.  The  stems  bloom  with  green,  and  form  thorns  of  fine 
wire  or  wax ;  bend  the  calyx  towards  the  stem  in  fruit  and  blossoms. 

Before  closing  these  remarks,  it 
may  be  well  to  give  some  hints  in 
regard  to  certain  points  not  hereto- 
fore mentioned.  In  describing  the 
various  flowers,  we  have  endeavored 
to  select  those  whose  formation 
would  be  most  likely  to  aid  in  form- 
ing others  of  the  same  class  ;  and  as 
it  is  impossible  in  any  ordinary  work 
to  explain  the  mode  of  making  the 
innumerable  host  of  beautiful  flow- 
ers that  may  be  found,  it  is  only  just, 
in  offering  a  treatise  upon  this  branch  of  fancy  work,  to  endeavor  to  give  such 
general  direction,  as  will  enable  a  person  to  form  them  without  particular  speci- 
fications. Where  it  is  desired  to  make 
any  particular  flower,  not  described 
here,  endeavor  to  obtain  a  natural  one, 
and,  if  possible,  a  leaf,  bud  and  branch 
or  spray  of  the  plant.  Then  laying  the 
petals  upon  a  piece  of  soft  paper,  press 
them,  one  after  another,  if  of  different 
sizes  and  forms,  upon  it,  marking  the  out- 
lines with  a  pencil;  the  soft  paper  takes  the  form  of  a  crimped  or  full  edge 
better  than  stiff  material  would. 

Then  transferring  to  stiff  paper  or  Card,  cut  out  each  one,  marking  the  num- 
ber, also  the  color  or  markings  peculiar  to  it ;  next  draw  the  figure  of  the  sta- 
mens and  pistil  upon  a  strip  of  card,  marking  their  number  and  color  of  the 
anthers  and  filaments.  Draw  the  form  of  the  calyx,  also,  and  write  upon  a  slip 
of  paper  any  peculiarity  of  the  corolla  or  other  parts  of  the  flower.  Cut  the  leaf, 
also,  and  having  marked  a  small  envelope  with  the  name  of  the  flower,  place  all 
the  parts  within  it.  A  collection  of  such  directions  will  be  found  invaluable  to 
the  wax-flower  maker.  The  writer  has  such  a  collection,  the  result  of  many 
years'  careful  observation  and  labor,  and  the  value  of  it,  in  teaching,  has  been 
found  immeasurable,  as  it  describes  flowers  which,  upon  many  occasions,  when 
a  description  of  them  was  necessary,  it  was  impossible  to  obtain. 


Fig.  21. 


CHAPTER  X. 


INDIAN  PAINTING  IN  IMITATION  OF  EBONY 
AND  IVORY. 


This  tasteful  and  artistic  work  may  be  applied  to  various  decorative  purposes, 
being  suitable  for  tables,  stands,  boxes,  brackets,  book  and  card  racks,  and  many 
other  articles  made  of  wood.  A  chess-table,  and  box  for  the  chessmen  are  very 
ornamental  thus  made.  A  smooth  white  piece  of  pine  may  answer  for  the 
article,  but  white  walnut  or  poplar,  white-wood,  satin-wood  or  maple,  will  make 
a  far  handsomer  piece  Of  work. 

Patient  care  and  neatness  are  all  that  are  required  to  produce  fine  specimens 
of  work,  which  anyone,  with  a  medium  share  of  skill  and  taste,  may  readily 
accomplish. 

The  wood,  to  be  ornamented,  must  be  rubbed  perfectly  smooth,  and  polisKed. 

Patterns  of  leaves,  flowers, 
butterflies,  birds,  grasses, 
shells,  etc.,  must  then  be  cut 
from  white  paper,  and  af- 
fixed to  the  surface  of  the 
wood  by  means  of  pins,  or  by 
pasting. 
The  surface  is  to  be  per- 
Fig.  1.   Decorative  Border.  fectly  black ;  which  is  done 

by  rubbing  up  in  a  saucer,  lamp-black  and  turpentine,  to  the  consistence  of  thin 
cream;  and  painting  the  whole  surface  with  a  soft  camel's-hair  varnish-brush ; 
commencing  by  painting  around  the  edges  of  the  design  first  with  a  small  brush, 
then  continuing  out  upon  the  surface ;  using  care  not  to  touch  any  parts  a 
second  time,  until  the  first  coat  has  dried  for  ten  or  twelve  hours.  Paint  until 
perfectly  black ;  then  dry  and  varnish  with  superfine  Copal.  When  perfectly 
dry  remove  the  papers,  if  pasted,  by  moistening  with  clean  water.  When  en- 
tirely clean,  shade  with  India  ink,  stippling  in  when  required,  and  veining  with 


204 


HOUSEHOLD  ELEGANCIES. 


dark  lines.  Allow  this  to  dry,  and  varnish  the  design  with  the  fine  Copal ;  and 
when  dry  rub  down  carefully  but  thoroughly  with  pumice-stone,  finely  pulver- 
ized, using  a  wet,  soft  flannel,  and  going  over  the  whole  surface ;  wash  off  with 
clear  water,  and  when  dry,  re-varnish,  and  again  rub  down,  continuing  this  process 
until  a  highly-jiolished  surface  is  obtained,  and  using  care  when  the  last  coat  of 
varnish  is  applied,  to  apply  it  evenly  and  smoothly,  producing  an  enameled  sur- 
face of  highest  finish,  equal  to  Japanese  work. 

Fig.  i  is  a  design  for  a  decorative  border  which  may  be  used  for  a  variety  of 
subjects.    The  edges  of  deal  book-shelves  look  very  pretty  when  decorated  in 


Fig.  2.  Chess-Board. 

this  way,  and  a  pattern  of  the  required  kind  may  be  made  by  first  tracing  a 
waved  line,  and  placing  on  this  line,  apparently  springing  from  it,  tracings  from 
a  series  of  small  leaves  flattened  out  for  the  purpose.  Such  borders  may  be 
adapted  from  other  decorative  work  to  be  found  in  illustrated  works  of  art. 

Fig.  2  is  a  design  for  a  chess-board.  The  easiest  plan  is  to  take  a  sheet  of 
cartridge-paper,  cut  the  exact  size  of  the  table.  Enlarge  the  design  of  Fig.  1  to 
the  size  of  the  paper,  by  squares  which  must  be  measured  Avith  a  pair  of  com- 
passes to  get  them  exact.    Draw  the  lines  across  at  right  angles  both  ways. 


HOUSEHOLD  ELEGANCIES. 


205 


When  a  correct  drawing  is  completed  on  the  paper,  if  there  are  many  erasures, 
go  over  the  right  outlines  with  pen  and  ink.  When  dry,  trace  this  on  clear  oil- 
paper, and  transfer  to  the  wood  by  means  of  blue,  not  black,  tracing-paper — the 
article  is  kept  by  most  stationers,  or  may  be  ordered.  With  a  clean,  white  rag, 
rub  the  blue  paper  well,  and  remove  much  of  the  color  before  tracing  with  it. 
Next  with  a  camel's-hair  brush,  dipped  in  India  ink,  rubbed  up  in  a  saucer 
with  water,  draw  over  the  outline  of  the  tracing  on  the  table.  Shade  the  flowers 
or  figures  with  India  ink,  and  finish  up  with  stippling  them.  The  ground  is 
entirely  black,  put  on  with  a  camel's-hair  brush  charged  with  lamp-black  and  a 
very  little  indigo  mixed  in  it,  to  intensify  the  black.  The  color  is  rubbed  up  in 
a  saucer  with  water,  and  used  moderately  wet.  It  must  not  be  put  on  very 
black  at  once,  but  by  degrees,  never  going  over  the  same  place  a  second  time  till 


Fancy  Box. 


a  day  has  elapsed.  Care  must  be  taken  not  to  lose  the  outline  of  the  design. 
The  ground  must  be  jet-black  when  finished,  and  perfectly  even  in  tone.  The 
design  requires  more  shading  as  the  work  proceeds ;  or  the  shading  may  be  left 
altogether  till  the  ground  is  completed.  Lastly,  varnish  it  with  pure  Copal, 
which  should  be  procured  colorless  and  genuiile.  It  is  better,  perhaps,  to  send 
the  ch^ss-board  to  an  artist's  colorman  to  be  varnished.  A  stand  and  legs  to  the 
chess-table  may  be  made  and  painted  black ;  a  cabinet-maker  will  provide  them. 

Fig.  3  is  a  box  to  be  ornamented  in  the  same  way ;  it  is  suited  to.  hold  chess- 
men, draughtsmen,  and  a  pack  or  two  of  cards,  and  may  stand  on  the  table. 

Both  Fig.  2  and  Fig.  3  must  be  varnished.    A  cover  of  wool,  or  fine,  not 


206  HOUSEHOLD  ELEGANCIES. 


coarse,  cotton,  in  crochet  or  knitting,  should  usually  cover  the  top  of  the  table, 
to  preserve  the  varnish  from  scratches. 

The  mode  of  decoration  we  have  described  may  be  applied  to  a  great  variety 
of  useful  purposes,  and  many  articles  of  the  simplest  and  cheapest  kind  may  be 
made  to  assume  a  very  ornamental  appearance  by  its  aid.  Leaves  and  grasses 
may  be  selected  from  the  garden,  and  when  flattened  out  and  arranged,  be  made 
to  supply  a  large  number  of  highly  interesting  decorative  designs. 

WATEE-COLOR  DRAWING  ON  WOOD. 

The  application  of  this  mode  of  ornamentation  can  be  made  almost  universal, 
from  a  card-table  to  a  pen-holder ;  the  illustrations  and  explanations  we  give. 


Fig.  4.  Salad  Spoon  and  Pork. 


HOUSEHOLD  ELEGANCIES. 


207 


will  show  how  the  subjects  may  with  the  greatest  ease  and  effect  be  treated  in 
this  way.  The  wood  chosen  for  coloring  should  be  of  as  hard  a  quality  with  as 
little  grain  as  possible ;  the  former  to  reduce  to  a  minimum  the  probability  of 
the  color  running,  which,  however,  it  will  do  under  any  circumstances  if  laid  on 
too  moist ;  and  the  grain,  if  prominent  and  handsome,  destroying  the  effect  of 
artificial  ornament,  nature  being  in  that,  as  in  everything  else,  unapproachable. 
The  best  surfaces  are  those  of  white  maple,  not  the  curled  or  bird's-eye,  linden- 
wood  and  boxwood.  A  very  little  practice  will  suffice  to  impart  a  correct  judg- 
ment of  suitable  woods ;  but  by  taking  pains  any  surface  can  be  made  to  answer 
the  purpose. 


Fig.  5.  Top  of  Boxes  6  and  7. 


We  give  here  a  suitable  subject  for  the  style  of  art  in  a  salad-spoon  and  fork, 
of  which  the  parts  painted  are  made  of  maple,  the  remainder  of  plumtree-wood. 
The  two  parts  are  usually  made  to  unscrew  for  convenience  of  washing.  The 


208  HOUSEHOLD  ELEGANCIES. 

design  is  first  drawn  in  outline  with  a  good  pencil,  but  not  so  as  to  injure  the 
surface  of  the  wood,  which  must  not  be  polished ;  the  spaces  left  light,  and  then 


Fig,  6.   A  Bonbonniere. 

carefully  filled  in  with  the  best  cake-white  rubbed  fine,  and  the  black  portions  done 
in  the  same  manner  with  India  ink ;  while  the  shaded  lines  are  tinted  with  sepia. 


Fig.  To  Toilet-Box. 


HOUSEHOLD  ELEGANCIES. 


209 


The  remaining  portion  is  either  left  the  color  of  the  wood,  or,  in  the  case  of  a 
decided  grain,  is  colored  with  a  warm  gray.  When  thoroughly  dry,  the  pencil 
lines  are  gone  over  with  a  fine  mathematical  pen  and  India  ink.  Should  it  be 
found  necessary  to  go  over  the  black  portion  a  second  time,  it  should  be  done 
before  these  final  lines  are  drawn,  as  they  give  a  finish  and  decisiveness  to  the 
outlines  not  otherwise  attainable.  The  last,  but  not  least,  part  of  the  business 
now  remains,  namely,  the  polishing  of  the  surface  that  has  been  colored.  This 
requires  extra  care  and  mechanical  taste,  as  the  stability  of  the  color  depends 
mainly  on  its  being  done  thoroughly  well,  to  resist  the  the  action  of  the 
moisture. 

The  polished  surface  may  be  cleaned  by  freely  wiping  it  with  a  damp  cloth, 
and  will  sustain  no  damage  thei-efrom,  provided  always  that  it  be  thoroughly 
dried  and  re-polished  with  a  dry  one,  or  piece  of  wash-leather.  Although  we 
should  advise  beginners  to  follow  the  pattern  given  herewith  in  their  first 
attempt,  less  formal  ornamentation  may  advantageously  be  Substituted  on  future 
occasions,  such  as  a  bouquet  of  flowers,  a  wreath,  or  rustic  scene,  etc.,  as  the 
fancy  of  each  may  dictate. 

Fig.  6  represents  a  honhonniere  made  with  a  frame-work  of  cane-laths  with 
panels  of  lime- wood.  The  design  for  the  top  of  both  Figs.  6  and  7  is  given 
about  full  size  in  Fig.  5.  The  initial  or  monogram  may  be  replaced  by  some 
other  design  if  desired.  Fig.  7  is  a  small  toilet-box  or  work-box,  made  entirely 
of  maple,  and  ornamented  with  painting  in  the  same  manner. 

PAPIER-MACHE  OR  JAPAJSTESE  LACQUERED -WORK, 
PEARL  INLAYI^sTG,  ETC. 
The  exquisite,  decorative  art-work,  introduced  into  England  and  this  country 
by  the  Japanese,  has  given  rise  to  various  beautiful  modes  of  ornamentation, 
which  are  unrivaled  for  profuse  enrichment  in  gold  and  colors,  mingled  with  the 
iridescent  luster  of  delicate  pearl,  and  the  opalescent  hues  obtained  by  silver- 
foil,  which,  upon  the  hard,  glossy,  black  surface,  are  exhibited  in  striking 
beauty. 

This  imported  work  had  for  its  foundation,  a  peculiar  dark  varnish,  which 
was  laid  upon  hard  wood ;  but  the  materials  of  which  it  was  composed,  and  the 
secret  of  its  manufacture  remained  a  "  sealed  book."  In  order  to  obtain  a  sub- 
stitute, the  art  of  making  papier-mache  was  resorted  to,  which  was  found  to  pro- 
duce a  surface  almost  equally  hard,  and  capable  of  receiving  as  high  a  state  of 
polish  as  that  obtained  by  the  Eastern  prototypes. 

It  would  be  impossible  in  this  little  treatise,  to  give  a  minute  description  of 
the  mode  of  manufacturing  papier-mache  as  followed  by  the  large  manufacturers, 
but  as  some  may  desire  to  make  a  small  portion  of  the  article,  we  add  the  meth- 
ods of  making  an  article,  which,  for  all  ordinary  purposes,  answers  admirably, 
and  is  not  difficult  to  accomplish.  The  best  papier-mache  is  composed  of  sheets 
14  I 


210 


HOUSEHOLD  ELEGANCIES. 


of  heavy,  porous,  gray  paper,  pasted  together  until  of  the  desired  thickness,  a 
flat  article  requiring  three  or  four  sheets,  which  is  then  thoroughly  saturated 
with  a  strong  size  composed  of  flour  and  glue,  and  put  under  press  until 
perfectly  solid ;  then  placed  in  a  stove  or  oven  and  thoroughly  dried ;  the  heat 
being  about  two  hundred  degrees  Fahrenheit. 

If  a  vase  or  other  cylindrical  article  is  desired,  it  should  have  been  put  ii 
mold  while  soft,  and  must,  after  baking,  be  sawed  in  two,  the  center  cut  out,  and 
paper  like  the  preceding  pasted  over  the  line  of  connection ;  coatings  of  the 
mashed  paper  spread  over  the  whole  and  baked  again. 

After  the  final  polishing,  the  article  is  soaked  in  linseed-oil  until  it  has  ab- 
sorbed all  it  will  take  up ;  again  dried  in  a  hot  oven ;  when  it  is  ready  for  its 
final  dressing  with  files  and  sand-paper ;  after  this,  it  is  varnished  with  black 
varnish,  and  polished  with  pumice.  If  panels  are  made,  they  can  be  sawed,  cut, 
etc.,  in  the  same  manner  as  boards. 

As  in  the  establishments  this  work  is  performed  by  women,  there  is  no  rea- 
son why  any  lady  may  not  thus  form  a  very  good  article ;  we  have  done  it  with 
good  success. 

A  more  recent  method  is  to  take  the  mashed  material,  of  which  paper  is  com- 
posed, porous  brown  paper  will  answer,  mixed  with  the  size  of  flour  and  glue  be- 
fore-named, and  pressed  into  oiled  molds  or  shaped  with  the  hands  into  desired 
forms,  placed  under  heavy  pressure;  baked,  and  rubbed  smooth  with  sand- 
paper ;  then  varnished  with  black  varnish,  and  polished  with  powdered  pumice- 
stone.  But  the  ornamental  painting,  pearling,  gilding,  bronzing,  etc.,  which  is 
applied  to  papier-mache,  may  be  used  upon  wood,  metal,  plaster  or  other  hard 
surface  with  almost  equal  facility. 

The  first  step  in  this  work  is  to  obtain  a  perfectly  smooth,  flat  and  polished 
surface,  which  is  done  by  rubbing  with  the  pad  dipped  first  in  water,  then  in 
powdered  pumice ;  finishing  with  dry  pumice  and  a  soft  silk-rubber,  or  the  palm 
of  a  smooth,  delicate  hand. 

The  colors  for  this  work  are  mostly  of  the  transparent  class ;  a  few  touches  of 
dead  or  opaque  color,  being  occasionally  added  for  effect. 

The  first  step  is  to  make  a  drawing  of  the  picture  or  design  intended  upon 
thin  white  paper,  marking  out  the  outline  and  principal  lines ;  prick  this  with 
the  point  of  a  needle,  and  it  is  laid  upon  the  "  blank,"  which  the  article  to  be  or- 
namented is  called,  and  a  little  powdered  chalk  or  whiting  is  rubbed  upon  it 
with  a  brush  or  piece  of  flannel,  or  a  pounce-bag  may  be  shaken  upon  it,  which 
will  answer  the  same  purpose.  Upon  carefully  raising  this  paper,  the  design 
will  be  found  traced  upon  the  blank  in  minute  dots,  and  can  be  made  more  per- 
manent by  tracing  delicately  with  an  extremely-small  camel's-hair  brush,  dipped 
in  flake  or  Chinese  white. 

The  colors  used  in  this  work  are  precisely  the  same  as  those  named  in  Ori- 
ental painting,  and  the  same  stand  will  be  found  "available.    With  the  white 


HOUSEHOLD  ELEGANCIES. 


211 


paint  greatly  diluted,  cover  all  tlie  white  flowers  with  a  v^ery  thin  coat,  and  w  heu 
dry  give  another,  and  still  another,  until  a  solid  coat  of  white  is  obtained ; 
coat  the  yellow  flowers  in  the  same  manner  with  chrome ;  the  scarlet  with  a 
single  coat  of  opaque-scarlet ;  the  leaves  pencil  with  a  mixture  of  chrome-yellow,  a 
little  white,  and  some  Prussian  blue,  using  a  medium  tint  first,  adding  shades  with 
more  yellow  and  white,  and  touching  up  the  lights  with  lighter  tints  of  the  same. 

Having  touched  the  surface  of  the  opaque  flowers,  the  next  step  is  to  lay  on 
the  transparent  shades,  provided  the  former  work  is  dry ;  should  there  be  roses, 
pink  geraniums,  oxalis,  or  flowers  of  that  kind,  use  rose-pink  with  crimson-lake 
in  the  dark  parts,  and  white  touched  upon  the  lights ;  blue  flowers,  such  as  foi'- 
get-me-nots,  use  light  blue  in  the  light  parts,  finished  with  the  same  darkened 
with  Prussian  blue,  in  the  shades  ;  deep  crimson  flowers  paint  crimson-lake ; 
purple  flowers  make  with  rose-pink  and  a  little  pale  blue,  and  for  the  deep,  rich 
purple  of  pansies  or  violets  use  crimson-lake  and  Prussian  blue ;  for  lavender  use 
light  blue  and  a  trifle  vermilion  with  a  dot  of  white ;  scarlet,  use  crimson-lake 
darkened  with  a  trifle  blue  in  some,  and  lightened  with  white  in  others,  and  made 
more  or  less  strong  with  varnish'  and  turpentine ;  white  flowers  must  be  shaded 
delicately  with  neutral  tint  made  of  yellow-lake,  crimson-lake,  and  blue  weak- 
ened with  varnish,  or  with  Vandyke  brown  and  light  blue  likewise  w^eakened, 
but  all  colors  must  all  be  shaded  and  touched  until  the  desired  effect  is  obtained ; 
leaves  are  coated  over  partially  with  yellow-lake  and  Prussian  blue ;  the  tints 
varied  to  suit  the  case ;  for  a  yellow-green,  yellow-lake  must  be  added  largely, 
and  for  a  blue-green,  burnt  sienna,  crimson-lake,  and  a  little  yellow ;  where  cov- 
ered partially  with  an  overhanging  flower,  touch  with  Vandyke  brown  and  Prus- 
sian blue ;  vein  with  Vandyke  brown  and  crimson-lake  added ;  the  stamens 
the  same ;  the  anthers  touch  with  chrome-yellow,  and  dot  them  with  burnt  si- 
enna; the  veining  is  improved  by  lining  with  yellow  against  the  brown. 

Touch  up  some  of  the  flowers  with  weak,  neutral  tints,  and  white  weakened 
with  clear  varnish.  It  is  well  for  a  person  intending  to  make  this  work  entirely 
perfect,  to  practice  in  making  various  figures  usually  appearing  in  the  course  of 
arranging  a  design. 


Two  sized  brushes  are  required  for  the  work ;  the  one  with  hair  half  an  inch 


HOUSEHOLD  ELEGANCIES. 


long,  and  the  other  somewhat  shorter ;  with  these  and  India  ink  proceed  to  make 
a  number  of  figures  similar  to  the  following : 

The  brush,  dipped  in  the  ink,  is  placed  upon  the  paper,  at  the  hair-line  A ; 
drawn  slowly  down,  bearing  on  more  heavily  in  the  center,  and  gradually  de- 
clining to  the  point  B ;  a  page  or  more  of  these  should  be  made  until  perfect ; 
then  make  the  next  one,  C,  commencing  with  a  heavy  stroke,  and  declining  to  a. 
hair-stroke ;  the  three  following  are  the  same  with  heavier  stroke,  F ;  these  formed 
into  a  triplet,  G ;  the  little  stroke  made  upon  commencing  a  leaf,  H ;  a  number 

two  formed 


of  these  forming  the  half  of  a  leaf,  I ;  the  same  reversed,  J ;  tl 
into  a  leaf.    K  is  commenced  with  a  hair-stroke,  gradually  made 


broader  and 


Fig.  9.  Designs  in  Pearl  Inlaying.  Fig.  10. 

heavier,  and  then  slowly  withdrawn  into  a  graceful  hair-stroke ;  L  is  the  same 
manipulation,  formed  into  a  grass-leaf ;  M,  a  cluster  of  the  same ;  N,  a  small 
movement  of  the  same  character,  arranged  as  compound  leaves  ;  O  is  a  section 
of  a  scroll.  Practice  in  forming  these  various  forms  and  combinations,  will 
soon  make  it  a  comparatively  easy  thing  for  a  person  to  paint  any  collection  of 
flowers,  or  form  graceful  and  elegant  groups  combined  with  scrolls,  check  and 
diaper  patterns.  The  object  in  this  practice  is  merely  to  educate  the  hand ; 
therefore  any  ink  or  paint  will  answer  as  material,  and  the  forms  may  be  varied 
to  suit  the  design  contemplated.  The  brush  should  be  held  easily  between  the 
fingers,  like  a  pen,  and  in  an  almost  upright  position.  The  bright  colors 
having  been  applied,  the  next  step  is  to  add  the  various  ornamental  parts,  such 
as  gilding,  pearling,  bronzing,  etc. 

GILDING. 

This  branch  of  ornamentation  is  divided  into  bright  and  dead  gilding.  As- 
the  gilding  is  to  be  applied  directly  to  the  surface  of  the  article,  it  must  be  made 


HOUSEHOLD  ELEGANCIES. 


213 


as  smooth  and  bright  as,  possible.  For  "  bright-gilding  "  boil  a  few  shreds  of 
isinglass  in  a  half -pint  of  water ;  let  this  cool,  and  with  it  paint  over  all  those 
parts  of  the  work  intended  to  be  gilded ;  while  the  surface  is  still  moist,  take  up 
one  of  the  pieces  of  gold  upon  the  "  tip,"  and  using  care  not  to  blow  the  breath 
upon  it,  dextrously  transfer  it  to  the  place  it  is  to  ornament,  laying  it  smoothly 
out,  and  pressing  it  upon  the  moist  surface  with  the  "  dabber."  If  any  cracks 
or  faults  appear,  wet  first  the  end  of  a  tracing-point  with  the  lips,  and  tear  off 
from  a  leaf  of  gold  a  piece  just  large  enough,  and  lay  it  over  the  crack,  pressing- 
it  down  carefully. 

If  the  gold-size  becomes  too  dry,  it  may  be  moistene'd  by  breathing  on  it. 
When  perfectly  dry,  the  superfluous  gold  must  be  lightly  blown  off.  Generally  five 
or  six  hours  may  intervene  between  the  application  and  burnishing  of  the  gold, 
and  the  surface  being  smooth,  the  rubbing  may  be  done  with  ease  and  rapidity. 

Upon  some  articles  it  is  a  pretty  change  to  have  the  gilding  what  is  called 
"  raised,"  and  a  material  called  in  technical  parlance  "  Chinese-raising,"  is  sold 
in  the  art  stores  for  this  purpose ;  but  it  may  be  made  as  follows  :  Two  parts  of 
white  lead,  one  part  of  litharge,  and  part  of  umber  mixed  with  gold-size,  a 
little  turpentine  and  varnish,  rubbed  in  a  paste  (use  merely  sufficient  turpen- 
tine to  form  a  paste).  Put  this  on  the  surface  with  a  small  brush,  having 
traced  the  design  as  before  described.  When  all  the  parts  desired  to  be  raised 
have  received  a  coat  of  this  paste,  let  it  remain  until  tlie  following  day,  when 
repeat  the  same  again,  continuing  the  operation  until  the  parts  are  sufficiently 
raised ;  this  should  harden  for  a  week,  unless  heat  is  resorted  to,  when  three 
days  or  less  will  suffice.  The  parts  all  dry,  coat  them  with  gold-size,  and  pro- 
ceed with  the  gilding  as  directed  before.  Both  kinds  of  gilding  may  be  used 
here  —  the  "  bright "  and  "  dead "  gilding,  which  will  r>>quire  two  separate 
sizings.  Proceed  next  to  touch  various  parts  with  gold-size  again,  and  when 
sufficiently  dry,  lay  on  some  bronze  with  a  dry  brush. 

A  distinct  piece  of  work  may  be  done  wdth  this  Chinese  raising.  The  design 
is  traced  as  previously  described,  and  the  "  raising  "  applied  as  described  ;  then 
sized,  and  the  bright  gilding  applied.  Fine  foliage,  trees,  shrubs,  etc.,  can  be 
introduced  and  colored  with  fine  opaque  color,  made  with  chrome-yellow  and 
Prussian  blue. 

A  Chinese  design  is  very  appropriate  and  elegant  done  in  this  way;  various 
objects  introduced,  such  as  figures,  buildings,  scenery,  etc.,  flowers  and  foliage 
can  be  painted  in  with  white  and  touched  up  with  bright  tints — red,  blue,  yellow, 
purple,  etc.  The  gold  may  be  etched  with  black  and  shaded  with  neutral  tints. 
The  bronze  parts  can  be  stained  with  transparent  green  and  brown  ;  using 
sienna  in  some  parts,  and  shades  of  crimson  bronze  in  others,  with  the  lake 
colors.  Gold  spangles  are  a  fine  addition  to  such  a  piece,  and  are  applied  with 
varnish,  making  the  work  look  brilliant  and  sparkling.  Let  this  di-y  for  a  week 
and  finish  with  varnish. 


214 


HOUSEHOLD  ELEGANCIES. 


One  of  the  principal  and  conspicuous  beauties  of  papier-mache  work,  is  the 
;-ilding ;  and  to  have  this  as  perfect  as  possible  is  of  course  very  important.  For 
the  bright  gilding,  a  piece  of  soft  cotton  dipped  in 
turjDentine  and  rubbed  briskly  over  it,  will  greatly 
increase  its  brilliancy.  Two  or  three  washings  with 
turpentine  will  be  necessary,  before  the  gold  will 
appear  perfectly  bright ;  a  further  polishing  with  cot- 
ton dipped  in  fine  whiting,  lightly  rubbed,  will  still 
further  enhance  the  brilliancy,  and  by  these  means 
the  most  intricate  designs,  and  the  most  delicate 
lines  in  burnished  gold,  may  be  readily  executed.  A 
variety  of  tints  of  gold,  as  well  as  of  silver  foil,  may 
^ig-  11-  be  applied  in  the  same  manner,  and  this  "bright 

"  is  the  croMaiing  beauty  of  papier-mache  ornamentation. 

DEAD  GILDING. 

'J'his  is  the  "  oil-gilding "  process,  accomplished  by  using  gold-size  prepared 
with  oil,  etc.,  and  the  leaf  applied  upon  a  dry  ground.  "  Dead  gilding  "  is  very 
satisfactory  in  combination  with  bright  gilding,  especially  when  executed  in  va- 
]-ious  shades  of  gold. 

Japanese  gold-leaf  is  of  two  kinds  or  colors,  " deep "  and  "pale;  "  the  former 
being  alloyed  with  copper,  has  a  ^reddish  tint,  the  latter  with  silver,  possesses  a 
yellowish  white  color. 

In  "  dead  gilding  "  the  size  is  made  with  a  proportion  of  chrome-yellow  added, 
which  is  done  for  two  reasons  ;  gold-size  being  almost  transparent,  would  not 
show  upon  the  black  background,  and,  also,  because  the  yellow  color  given  by 


dldins 


I  •  •  I 
MM 


Fig.  12.  Fig.  13. 

the  chrome  has  a  tendency  to  conceal  cracks  or  flawfe  in  the  leaf  laid  upon  it ;  a 
small  portion  of  fine,  clear  linseed-oil  is  added  to  prevent  the  work  from  drying 
too  rapidly.  After  applying  this  size  to  the  surface,  it  is  allowed  to  dry  until  it 
is  merely  "  sticky,"  when  the  leaf-gold  is  applied,  pressed  down  firmly  with  a 
soft  pad,  and  the  edges  smoothed  and  brushed  off. 


HOUSEHOLD  ELEGANCIES. 


215 


A  number  of  shades  of  gold,  and  also  silver-leaf,  may  also  be  applied  in  the 
same  manner.  As  a  means  of  imparting  beauty  and  brilliancy  to  certain  trans- 
parent coloi's,  the  latter  is  most  particularly  valuable.  The  eft' ect  it  has  in  this 
regard  is,  in  some  instances,,  truly  astonishing;  for  instance,  in  painting  the 
eyes  "  in  the  bronze  spots  on  a  peacock's  tail,  it  imparts  that  peculiar  metallic 
bi'illiancy  unattainable  in  any  other  way ;  also,  in  the  stained  glass  of  windoM^s, 
etc.,  it  produces  wonderful  results. 

VARNISHING. 

As  papier-mache  work  requires  the  highest  polish  and  smoothest  of  surfaces, 
great  care  and  nicety  are  required  in  the  finishing.  Wipe  the  painting  carefully 
with  a  silk  handkerchief  of  the  softest  texture ;  and  laying  the  article  upon  its 
back,  with  a  flat,  soft,  camel's-hair  brush,  entirely  free  from  dust,  apply  a  coat 
of  finest  Copal  varnish.  The  varnish  must  flow  smoothly  beneath  the  brush 
without  "  dragging,"  and  the  entire  surface  be  evenly  covered ;  allow  it  to  re- 
main in  the  position  named,  upon  its  back,  until  the  varnish  dries.  AVhen  en- 
tirely dry,  which  will  require  a  week,  give  another  coat  of  varnish  in  the  same 
manner,  drying  for  another  week. 

Then  take  a  piece  of  soft  flannel  or  cloth,  and  make  a  rubbing-pad,  as  l)efore 
described,  with  which,  using  moisture  and  ]3umice-stone,  rub  the  varnish  per- 
fectly smooth,  but  taking  great  care  not  to  rub  through  to  the  work  beneath. 
Repeat  this  over  and  over  until  the  surface  is  as  smooth  and  glossy  as  the  finest 
enamel ;  then,  with  a  soft  hand,  or  a  piece  of  velvet  or  silk,  and  a  very  little  oil, 
burnish  finally  and  effectually;  when  the  surface  should  present  the  appearance 
of  a  polished  mirror. 

In  applying  this  style  of  ornamentation  to  various  articles  of  furniture,  it  is 
not  necessary  they  should  be  composed  of  papier-mache,  as  this  style  of  painting 
is  equally  beautiful  for  wood,  metal,  plaster,  etc. 

Exquisite  little  fancy  tables  may  be  made  by  painting,  varnishing,  and  polish- 
ing any  article  of  the  kind.  Frequently  the  old  attic  or  lumber-room,  or  that 
never  failing  resort,  the  "  auction-room,"  will  furnish  treasures  in  this  line,  and 
we  have  seen  a  suite  of  bed-room  furniture,  consisting  of  the  complete  set  of 
twelve  pieces,  purchased  at  an  auction  for  fifty  dollars,  for  which  a  lady  refused 
five  hundred  dollars,  after  finishing  it  in  papier-mache  style,  and  with  exceed- 
ingly simple  designs ;  for  a  set  completed  with  gilding  and  pearling  would  be 
worth  four  times  that  price,  a  small  table  costing  fifty  dollars.  The  examples 
we  give,  Figures  8  to  14,  are  suggestive  of  many  ways  to  decorate  furniture,  etc. 

Then,  again,  the  work  is  so  fascinating,  that  we  feel  inclined  to  urge  upon  any 
lover  of  the  beautiful,  to  make  an  attempt  to  achieve  some  of  the  victories  to  be 
won  in  this  art,  which  is  capable  of  such  astonishing  and  satisfactory  results ; 
for  the  trophies  they  piay  exhibit  would  prove  sufficiently  valuable  to  atone  for 
all  the  labor. 


216 


HOUSEHOLD  ELEGANCIES. 


Fig.  14.    Design  for  Pearl  Inlaying. 


CIIAPTEE  XL 


CONE,  SPRUCE,  SEED,  AND  ACORN  WORK. 


An  exceedingly  complimentary  article  appeared  in  an  English  magazine  not 
long  since,  regarding  the  thrift  and  taste  exhibited  by  our  American  girls,  in 
"  turning  everything  to  account,"  as  well  for  ornament  as  use ;  "and,"  it  con- 
tinued, "  what  has  hitherto  by  ourselves,  in  England,  been  considered  as  of  no 
value,  has,  by  American  taste  been  converted  into  pretty  and  useful  articles, 
which  make  not  only  pleasing  additions  to  one's  home,  but  provide  an  accept- 
able gift  to  a  friend.'"' 

This  article  went  on  to  explain  the  various  modes  of  applying  the  scales  of 
pine  cones  to  various  ornamental  purposes,  and  as  it  is  probable  that  some  few  of 
our  "  American  girls,"  and  women,  too,  do  not  understand  the  best  methods  few 
of  making  this  cone-work  into  articles  of  real  artistic  beauty,  we  feel  it  would  be 
an  unfortunate  omission  were  we  to  pass  this  subject  over  without  some  atten- 
tion ;  especially  after  reading  the  flattering  notice  of  our  English  neighbors. 

The  best  time  for  collecting  the  cones,  etc.,  for  this  work,  is  in  the  autumn ; 
when  go  forth  under  the  sweet-scented  pine-trees,  and  gather  cones  of  every  shape 
and  size,  besides  many  other  treasures  which  will  greatly  enhance  the  beauty  of 
this  kind  of  work ;  such  as  the  husks  of  beech-nuts,  acorns,  oak-apples,  cedar- 
apples,  nuts  of  all  kinds ;  small  knotted  twigs,  bark,  and  indeed,  any  and  every 
natural  production  that  can  be  collected ;  and  which  are  scattered  in  rich  pro- 
fusion through  the  lengih  and  breath  of  the  woodlands. 

Having  through  the  "  fall "  months  secured  a  store  of  rich  and  varied  treas- 
rcires,  sit  down  during  the  long  and  pleasant  winter  evenings  and  form  them  into 
-  things  of  beauty." 

The  first  step  is  to  sort  out  each  thing  to  itself  in  little  boxes  or  cases,  which 
will  prevent  much  confusion,  and  greatly  expedite  matters.  The  largest  of  the 
cones  must  be  carefully  separated  with  a'  knife,  each  scale  removed  and  laid 
away  for  future  use,  keeping  the  little  cluster  upon  the  point  entire,  as  it  is  fre- 
quently of  great  use,  looking  like  a  little  carved  rose,  M'bich  is  a  very  beautiful 
addition  in  some  parts  of  the  work. 


218  HOUSEHOLD  ELEGANCIES. 

Having  each  article  ready,  obtain  some  Copal  varnish  ;  a  round  camel's-hair 
brush  of  medium  size ;  card-board  or  wooden  foundation,  according  to  the 
article  to  be  made ;  strong  needle  and  thread ;  small  gimp-tacks  and  hammer, 
and  a  brad-awl. 


Fig.  1. 

Baskets  are  made?  upon  a  card-board  foundation,  but  brackets,  wall-pockets, 
etc.,  require  wood  of  a  dark  natural  color ;  or  stained  in  imitation  of  old  oak, 
walnut,  or  other  wood.  Card-baskets  are  pretty,  covered  with  cones  in  the  fol- 
lowing manner  :  Form  a  basket  of  desired  shape,  of  heavy  pasteboard,  cutting 
an  oval  or  round  bottom  with  shallow  side ;  made  to  spread  at  the  top,  by  using 
four  pieces,  wider  at  the  top  than  bottom,  which  should  fit  around  the  edge  of 
the  bottom-piece ;  make  also  a  circular  or  oval  brim  around  the  edge,  as  shown 
in  Fig.  1. 

KUSTIC  OENAMENTS. 


The  pieces  should  all  be  covered  with  brown  paper,  the  rougher  the  better ; 
and  stitched  together  with  strong  thread.  The  basket  formed,  commence  by 
stitching  all  around  the  edge  of  the  brim  the  largest  of  the  cone-scales,  covering 
the  entire  edge ;  then,  proceeding  with  a  size  a  very  little  smaller,  to  cover  the 
stitches  upon  the  first  row,  by  making  a  second  rovi^,  and  continuing  this  until 
the  whole  surface  is  covered ;  makiT^  ,the  points  of  one  row  to  come  between 
those  of  the  preceding.  Cover  the  sides  in  the  same  manner,  placing  the  scales 
at  the  bottom  of  the  sides,  and  the  upper  edge  of  the  brim,  with  their  points 
reversed ;  thus  forming  a  neat  edge-finish.  Make  a  handle  in  the  same  manner. 
Proceed  then  to  decorate  the  sides  and  rim  with  wreaths,  formed  of  the  various 
woodland  treasures,  acorns,  nuts,  leaves  cut  from  bark,  and  the  fiat  moss  from 


HOUSEHOLD  ELEGANCIES. 


219 


old  tree-bark ;  tips  of  cones,  acorn-cups,  tiny  cones  and  burs,  and  berries  of 
various  kinds,  or,  indeed,  with  any  pretty  rustic  thing  that  has  been  collected  ; 
arrange  dried  tendrils,  etc.,  in  as  graceful  a  manner  as  possible. 

Care  must  be  taken  to  entirely  cover  the  the  card-board,  as  spaces  showing 
the  frame  work  would  look  bad.  Many  small  things  can  be  put  in  by  means  of 
glue ;  as,  for  instance,  an  acorn  here  and  there,  a  tiny  oak-apple,  the  extreme 
point  of  a  cone,  besides  other  things  which  will  doubtless  easily  occur  to  the  fair 
operator.  A  little  ingenuity  will  suggest  many  ideas,  which  will  all  tend  to  the 
perfection  and  beauty  of  the  work. 

The  handle  requires  to  be  done  in  the  same  way  as  the  other  part  of  the 
basket ;  but  one  row  of  the  scales  stitched  at  each  edge  will  be  found  to  be  suffi- 
cient ;  and  in  making  the  wreath,  the  smallest  of  the  cones,  etc.,  should  be  used ; 
taking  care  to  select  the  variety  which  has  already  been  brought  into  use  in  the 

basket.  It  is  a  good  plan  to  stitch  a 
round  bonnet-wire  along  the  under 
side  of  the  handle,  which  will 
strengthen  it  considerably,  as  well  as 
allow  of  its  being  bent  to  a  prettier, 
or  the  desired  form. 

Having  proceeded  thus  far,  the  next 
thing  to  be  done  is  to  varnish  your 
work,  for  which  the  best  Copal  var- 
nish must  be  used,  applied  with  a 
camel's-hair  pencil  of  a  moderate  size, 
the  utmost  attention  being  paid  to 
insert  the  brush  into  every  little  crev- 
ice ;  do  not  omit  any  part. 

Having  thoroughly  varnished  your 
basket,  put  it  away  in  some  place  en- 
tirely free  from  dust,  and  let  it  re- 
Fig.  2.  Acorn  Leaf.  Upper  side.  main  a  night,  so  that  it  may  be  per- 
fectly dry  before  lining  it.  You  may  now  make  the  lining,  which  should  be  of 
silk  or  satin,  the  color,  of  course,  as  taste  dictates ;  some  bright  color  looks  best, 
such  as  amber,  brilliant  green,  rose,  or  blue.  If  intended  for  a  gift,  it  is  wise  to 
choose  a  color  which  will  harmonize  either  by  contrasting  or  matching  the  fur- 
niture of  the  room  it  is  going  to  be  placed  in.  Amber  does  well  for  almost  any 
other  color,  and  contrasts  admirably  with  the  brown  tints  of  the  cones.  Having 
made  your  choice,  cut  a  piece  of  wadding  the  shape  and  size  of  the  bottom  of 
the  basket,  and  also  of  the  strip  going  round.  Cover  these  on  one  side  with  the 
silk,  and  then  stitch  neatly  together  in  the  form  of  the  basket.  Put  around  the 
top  a  quilling  of  narrow  satin  ribbon,  the  same  shade  as  the  silk,  and  after  hav- 
ing done  the  handle  in  the  same  way,  and  stitched  it  very  strongly  to  the  basket. 


220 


HOUSEHOLD  ELEGANCIES. 


put  in  tliis  lining,  which  will  fit  without  any  further  sewing.  The  underneath 
part  of  the  basket  must  have  paper  pasted  over  it  to  liide  the  stitches,  and  ren- 
der your  work  perfectly  neat  and  tidy.    The  basket  will  now  be  complete. 

Very  nice  spill  cups  can  be  made  in  precisely  the  same  way,  using  empty 
wooden  boxes.  Very  handsome  boxes  for  envelopes,  stereoscopic  slides,  etc., 
can  be  made  by  tastefully  covering  old  cigar-boxes.  Stands  for  hyacinth-glasses 
or  vases  of  flowers,  can  be  produced  by  covering  empty  boxes  in  which  gentle- 
men's collars  have  been  kept.  In  this  case  the  cones  must  be  stitched  on,  as 
was  done  in  the  basket,  using  the  "  scales "  as  the  foundation.  In  fact,  the 
cones  may  be  applied  to  the  decoration  of  a  great  variety  of  articles,  which 
would  be  otherwise  useless,  and  perhaps  meet  the  fate  of  household  rubbish, 
generally. 

ALMANAC-FRAME. 

Fig.  4  represents  a  mosaic  pattern  of  fir-apples,  pine  cones,  acorns,  etc.  A 
frequent  walk  through  the  woods  and  forests,  will  bring  all  the  materials  di- 
rectly within  easy  reach  of  every  lady  who  desires  to  construct  such  a  frame. 

The  leaves  of  the  fir-apples,  also  of  the  pine  cones,  in  their  different  shapes 
and  sizes,  also  the  opened  and  closed  fir-a]3ples,  the  shells  of  the  beech-nuts  and 
acorns,  are  first  cleaned  in  water,  with  a  brush,  before  they  can  be  used.  The 
whole  material  must  also  all  be  wetted,  when  required  to  be  sewn  on  to  form  the 
pattern.  The  frame-foundation  is  of  a  piece  of  thick  card-board,  fourteen  and 
Che-fourth  inches  deep  in  the  middle,  and  on  each  side  nine  and  one-half  inches 
and  thirteen  and  one-half  inches  wide, 
which  is  to  be  cut  out  in  curves,  as  per 
illustration.  A  space  five  and  one- 
fourth  inches  wide,  two  and  one-fourth 
inches  deep,  and  four  and  one-fourth 
inches  from  the  lower  edge,  is  left  open 
in  the  middle  for  the  almanac.  The 
fir  leaves  are  now  sewn  round  this  with 
brow  n  silk ;  one  row  of  cone-leaves 
finishes  the  outer  edge  of  the  frame, 
but  three  rows  of  a  cornet-like  shape 
go  round  the  inner  one.  The  space  be- 
tween these  leaves  is  filled  up  with  fir- 
apple  leaves,  put  flat  over  each  other. 
For  the  relief-like  part  of  the  frame, 
all  the  acorn-leaves  and  acorns,  the 
different  large  closed  and  open  fir-ap- 
ples, the  open  shells  of  the  beech-nuts, 
with  wire-stalks  attached,  and  a  few 


HOUSEHOLD  ELEGANCIES.  221 

curled  wire-tendrils  mixed  in,  are  to  be  arranged  in  a  wreath-like  way  and 
bound  on  a  thick  wire-stalk. 

The  mode  of  making  these  leaves  is  best  seen  by  referring  to  illustrations  2 
and  3.  In  Fig.  3  is  shown  the  plain  foundation  of  the  leaves  cut  out;  and 
then,  in  Fig.  2,  it  is  shown  all  sewn  over  with  the  rows  of  the  fir-leaves.  The 


Fig.  4.   An  Almanac-Frame. 


thick,  middle  vein,  is  of  wire  twisted  over,  being  continued  as  a  stalk,  but  going 
through  the  card-board  at  the  upper  point,  is  to  be  bent  over  at  the  back,  as  seen 
in  Fig.  3.  Each  leaf  is  pasted  at  the  back  with  brown  paper;  after  the  diadem- 
like mosaic  wreath  is  finished  it  is  sewn  on  the  frame. 

To  hang  the  latter  up  is  a  wire  loop,  two  and  one-fourth  inches  long,  covered 
with  fir-apple  leaves,  which  is  sewn  on  the  top  of  the  frame;  this  is  covered  be- 
forehand, carefully,  with  brown  paper,  to  hide  the  many  stitches  at  the  back. 


222 


»  HOUSEHOLD  ELEGANCIES. 


When  the  mosaic  is  perfectly  dry,  it  is  brushed  over  with  good  Coj)al  vaniish. 
In  order  to  enliven  the  mosaic,  a  f  ev^  of  the  leaves  and  tendrils  are  to  be  touched 
with  gold  and  silver,  which  can  be  bought  at  appropriate  stores.  A  small  place 
must  be  cut  in,  across  the  frame,  to  slip  in  the  almanac. 

THERMOMETEE-FEAME. 

Fig.  5  represents  a  new  adaptation  of  this  pretty  and  interesting  work.  The 
usual  materials,  pine-cone  scales,  beech-nut  hulls,  alder  catkins,  acorns,  etc. 


Fig.  5.  Thermometer-Frame. 


Take  the  best  flakes  of  large  pine  cones,  fir-apples  of  different  shapes  and  sizes, 
empty  husks  of  beech-nuts,  the  foliage  of  alders,  commonly  called  lambs,  whole 
and  half-cut  acorns,  and  clean  them,  with  a  small  brush,  in  water.  The  founda- 
tion of  the  frame  is  of  strong  pasteboard,  eleven  and  a  half  inches  high  and 
eight  inches  wide,  and  cut  out  in  curves ;  the  pasteboard  being  covered  on  both 


HOUSEHOLD  ELEGANCIES. 


223 


sides  with  brown  silk-paper.  The  different  materials,  still  damp,  are  now  sewn 
with  brown  silk  on  the  outer  and  inner  edges  of  the  frame,  in  a  mosaic  pattern, 
edged  on  both  sides  with  two  rows  of  leaves,  leaving  a  space  in  the  center  seven 
and  a  quarter  inches  long  and  one  inch  wide  for  the  thermometer.  Group  the 
mosaic  parts  in  any  taste ;  the  illustration  suggests  a  neat  arrangement.  A 
brass  ring,  by  which  to  hang  up  the  frame,  is  fastened  to  it  by  means  of  a  loop 
of  ribbon,  ere  the  brown  paper  is  pasted  to  the  back  of  the  frame.  A  bow  of 
brown  ribbon  is  tied  to  the  ring. 

FLOWER-STAND. 

This  is  a  Jardiniere,  also  decorated  with  groups  of  fir-apples,  etc.  The  frame  of 
this  flower-stand  consists  of  cane-rods.  The  thin  bottom  on  which  the  flower- 
pots stand,  is  made  of  tin,  and  can  be  supplied  by  any  tinman,  being  put  in 


Fig.  6.  Flower-Stand  (Jardiniere)  Decorated  with  Groups  of  Fir-Apples,  Etc. 
when  the  stand  is  finished ;  almost  any  furniture  or  basket  maker  can  furnish 
the  cane,  w'hich  should  be  of  yellow  color.    A  better  stand,  much  more  orna- 


224 


HOUSEHOLD  ELEGANCIES. 


mental,  yet  requiring  more  skill  and  trouble  to  make,  is  composed  of  the^ 
following  materials :  Black  woolen  rods,  with  white  pearl  beads,  can  be  bought 
at  most  fancy  shops  ;  the  stand  is  made  of  six  posts,  or  sets  of  rods,  which  are 
each  six  and  a  quarter  inches  high,  and  every  two  put  behind  each  other  and 
joined  by  cross-rods  :  between  these  double  rods  goes  the  decorations  to  be  made 
as  a  stripe ;  rods,  put  on  crosswise,  afford  a  bottom  on  which  the  round  tin 
drawer,  eleven  and  a  quarter  by  eleven  and  three-quarters  inches  large,  rests ; 
the  decoration  of  this  stand,  also  to  be  of  a  pattern  worked  on  Java,  or  common 
canvas,  if  desired,  is  especially  worthy  of  attention,  on  account  of  its  novel  ele- 
gance. The  flower-groups  seen  are  of  fir-apple  mosaic,  put  on  en  relief,  raised, 
which  have  a  very  tasteful  effect,  either  on  green,  brown  or  scarlet  cloth.  The 
carefully-cleaned  fir-apple  leaves,  put  on  wire,  are  then  formed  into  flowers,  etc., 
and  these,  with  the  addition  of  catkins,  beech-nuts,  small  cones,  and  bunches  of 
juniper-berries,  arranged  in  a  bouquet  on  the  cloth  foundation,  which  is  first 
stretched  over  a  piece  of  card-board. 

After  the  bouquet  has  been  sewn  on,  the  places  for  the  different  flowers  and 
leaves  having  been,  of  course,  traced  out  beforehand,  they  are  carefully  varnished 
over  with  good  brown  transparent  varnish,  and  the  back  of  the  card-board  pasted 
over  with  a  colored  or  dark  lining  before  putting  the  trimming  on  the  stand. 

i  HANGING-BASKET  WITH  IVY. 

Materials  :  Pasteboard  and  brown  paper  for  the  basket ;  fir-cones,  pine-cones, 
alder-catkins,  beech-nuts,  acorns,  etc. ;  leather,  not  too  thick ;  green  oil  paint,  in 
two  shades  ;  flower-wire,  and  green  ribbon,  a  quarter  of  an  inch  wide.  '1  he 
frame  of  the  hanging-basket.  Fig  7,  may  be  constructed  with  very  little 
trouble.  The  separate  parts  may  be  sewed  or  pasted  together ;  if  pasted,,  the 
seams  must  be  secured  by  strips  of  linen.  The  cone-work  constructed  of  the 
above-mentioned  materials  is  sewed  on.  For  the  smooth  surfaces  the  scales  of 
large  fir-cones  are  employed ;  these  must  not  be  longer  than  one-half  or  three- 
quarters  of  an  inch  long,  so  that  they  may  be  arranged,  lying  smoothly,  close  to 
each  other.  Six  parts  constitute  the  lower  arch  of  the  basket.  When  these 
Iiave  been  joined  at  the  sides,  they  are  covered,  beginning  at  the  lower  edge^ 
with  scales  of  fir-cones,  sewed  on  in  transposed  rows  up  to  within  one-fifth  of 
an  inch  distant  from  the  top,  over  which  empty  the  space,  the  upper  part  of 
the  basket  is  then  fitted.  A  row  of  scales  of  fir-cones,  about  one-half  an  inch 
long,  sewed  over  each  other  in  such  a  manner  that  the  bright  heads  protrude ; 
mark  the  seams  at  the  sides ;  a  large  fir-cone,  about  two  inches  long,  serves,  as 
may  be  seen  in  the  engraving,  for  the  tassel-like  ornament  at  the  bottom.  On 
the  upper  rim  of  this  Jower  part  of  the  basket,  rests  a  hexagon  of  card-board, 
which  must  be  fitted  exactly  to  the  shape,  and  for  whose  support  a  strip  of 
])asteboard  is  pasted  at  an  even  height  round  about  it.  But  before  this  is  fitted 
in,  side-walls  of  pasteboard,  four  inches  high,  and  covered  with  brown  paper, 


HOUSEHOLD  ELEGANCIES. 


225 


must  bs  fastened  to  tlie  uncovered  margin  of  each  lower-side  })art  of  the  basket. 
The  sides  must  meet  exactly.  The  cone-work  covering  for  these  parts  is  to  be 
executed  on  separate  pieces  of  card-board,  one-quarter  of  an  inch  narrower, 
and  as  much  longer  as  these  very  parts,  and  pasted  over  with  brown  paper; 


Fig.  7.   Hanging-Basket,  with  Ivy. 


they  are  then  fitted  to  the  basket;  where  they  are  wanting  in  breadth,  the- 
overlapping  scales  cover  the  deficiency ;  and  where  they  are  too  long,  they  cover 
the  margin  that  was  left  bare  below.    As  may  be  seen  in  the  illustration,  eacli 
15 


226 


HOUSEHOLD  ELEGANCIES. 


side-part  lias  a  smooth  margin  of  scales  of  fir-cones,  and  in  the  center,  as  varie- 
gated a  cluster  as  possible  of  the  remaining  materials.  Three  brass  rings, 
fastened  to  the  side-parts  serve  for  the  cords  to  be  passed  through.  After  the 
hexagon  of  pasteboard  has  been  fitted  in,  and  the  inside  of  the  basket  neatly 
pasted  over  with  brown  paper,  the  cone-work  is  covered  with  a  layer  of  Copal 
varnish.  Our  model,  as  may  be  seen  in  the  engraving,  is  covered  with  vines  of 
ivy,  which,  though  made  in  a  'most  simple  manner,  of  leather,  not  only  success- 
fully imitate  fresh  ivy,  but  are  indestructible.  The  single  leaves  are  cut  in 
various  sizes  from  leather  that  is  not  too  thick,  and  provided  with  wire  stems, 
covered  with  green  ribbon.  The  hole  through  which  the  wire  is  to  pass,  may 
be  made  with  a  needle  in  the  center  of  the  leaf,  about  two-fifths  of  an  inch 
distant  from  its  lower  end.  The  stems  and  both  sides  of  the  leaves  are  painted 
an  olive-green  color,  the  smaller  leaves  a  lighter  shade,  and  this  process  is 
repeated  \^hen  the  first  application  is  dry.  The  fine  veins  of  the  leaves  are 
painted  with  the  lighter  shade.  For  a  model,  it  is  best  to  take  a  natural  ivy- 
leaf.  A  thicker  wire,  as  long  as  the  vine,  serves  for  the  branches  to  be  tied  to ; 
at  the  lower  ends,  the  stem  may  be  wound  about  with  brown  ribbon,  and  here 
and  there  painted  with  the  green  paint. 


HOUSEHOLD  ELEGANCIES. 


227 


KEY-HACK.— CONE-WORK. 

This  Rack  is  covered  with  the  cone-work,  leaving  a  space  for  the  board  that 
contains  the  hooks,  and  which  is  about  four-fifths  of  an  inch  wide,  and  ten  and 
two-fiftiis  inches  long.  The  board  may  be  made  by  any  carpenter,  and  is  fur- 
nished with  brass  hooks.  A  wire  nail,  bent  over  at  the  back,  suffices  to  fasten  it 
to  the  card-board  back.  A  brass  ring  at  the  top  serves  to  hang  the  rack  up ; 
besides  this,  two  cords,  each  eleven  inches  long,  meeting  beneath  a  circle  of 
pasteboard  two  inches  in  diameter,  and  covered  with  cone-work,  further  secure 
the  rack  to  the  wall. 

LAMBREQUIN  IN  CONE-WORK. 

Materials :  Pine  cones,  open  hulls  of  beech-nuts,  acorns,  etc. ;  card-board, 
coarse  wire  covered  with  brown  tissue-paper,  thin  wire,  brown  paper.  Copal  var- 
nish, silver  and  gold  dust,  etc.  The  foundation  of  our  model  consists  of  card- 
board; it  is  twenty-two  and  two-fifths  inches  long,  seven  and  three-fifths 
inches  wide  in  the  center,  three  and  one-fifth  inches  wide  at  the  sides,  and 
curved  at  the  bottom  as  indicated  in  Fig.  9.  This  foundation  is  covered  with 
the  scales  of  pine  cones.    Sew  the  first  row  all  around  the  margin,  then  sew 


Fig.  9.  Lambrequin. 


two  rows  of  scales  cross-wise  at  the  top ;  fill  up  the  rest,  beginning  at  the  bot- 
tom, with  the  scales  pointing  downwards.  The  raised  decoration  is  made  in  the 
following  manner :  The  large  leaves  are  cut  of  card-board  and  covered  with  pine 
cone  scales,  beginning  at  the  apex  of  the  leaf ;  the  stitches  on  the  wrong  side 
are  pasted  over  with  brown  paper ;  acorns,  pine-cones,  alder-catkins,  beech-nut 
halls,  etc.,  are  provided  with  wire  stems,  intermingled  with  tendrils  of  wire, 
twisted  into  a  bouquet  with  coarse  wire,  and  the  whole  then  sewed  to  the  founda- 
tion, with  stitches  as  invisible  as  possible.    The  back  of  the  lambrequin  is 


228 


HOUSEHOLD  ELEGANCIES. 


pasted  over  with  brown  paper.  When  the  work  is  coniplet  jly  dr}',  of  course  the 
reader  bears  in  mind  that  the  materials  must  be  cleaned  with  a  brush  in  water, 
and  that  they  are  more  easily  worked  up  while  still  moist;  the  whole  is  co^-ered 
with  a  layer  of  Copal  varnish.  In  our  model,  some  of  the  leaves,  acoi-ns,  and 
tendrils  are  sprinkled  with  gold  or  silver  dust,  which  gives  the  whole  a  bright 
appearance. 

FAN  OR  CtLOVE  BOX. 

Only  the  cover  of  our  model,  which  may  bo  used  as  a  fan  or  glove  box,  is 
decorated  by  the  cone-work,  and  a  monagram  in  the  center;  the  box.  vrliich  is 
ten  and  one-half  inches  long,  four  and  four-fifths  inches  wide,  and  one  and 
three-fifths  inches  high,  is  made  of  card-board,  lined  on  the  inside  with  white 
satin  paper,  and  covered  on  the  outside  with  dark  velvet  paper.  1'he  cone-woi  k 
is  worked  on  a  separate  piece  of  card-board,  and  then  glued  to  the  cover.  The 
piece  of  card-board,  which  must  be  the  exact  size  of  the  cover,  is  bound  with  a 
strip  of  the  paper  that  covers  the  box  ;  then  fasten  in  the  middle  the  strip  of 
brown  or  green  cloth  on  which  the  monogram  has  been  embroidered  with  black 


Fig.  10.   Fan  or  Glove  Box. 


silk;  in  our  model  the  space  occupied  by  the  monogram  is  three  inches  in 
length  and  two  in  width.  The  cone-work  is  then  sewn  on  in  the  usual  manner 
with  black  or  brown  thread.  The  mode  of  sewing  the  cone-work  is  much 
preferred  to  that  of  pasting  it,  on  account  of  its  greater  durability,  and  should 
always  be  employed,  Avhen  soft  substances,  such  as  card-board,  form  the 
fo:nidation. 

WALL-POCKET.— CONE-WOEK. 

Materials :  Pasteboard,  cherry-colored  glazed  paper,  glue,  varnish,  pine  cones, 
beech-nuts,  fruit-pits,  acorns,  oak-apples,  etc.  The  decoration  on  this  wall-pocket 
is  principally  characterized  by  the  employment  of  the  hulls  of  beech-nuts,  which 
form  the  blossoms  of  the  diadem  on  the  front  of  the  pocket.  Each  part  of  the 
pocket,  front  and  back,  is  worked  separately.    When  both  parts  have  been 


HOUSEHOLD  ELEGANCIES.  229 

cut  of  pasteboard,  cover  them  on  each  side  with  cherry-colored  glazed  paper, 
fastening  a  loop  or  ring  to  the  back  i^art  by  which  to  hang  it  up,  and  then 
arrrange  the  foundation  of  scales.  For  the  latter,  separate  the  small  leaves 
from  well  grown  pine  cones,  cut  off  the  lower  edge  so  that  each  leaf  retains  a 
length  of  four-fifths  of  an  inch,  and  arrange  them  on  the  pasteboard,  which 
has  been  thickly  covered  with  glue,  in  the  following  manner  :  On  the  front  part 


Fig.  11.   Wall-Pocket.  Cone-Work. 


place  the  scales  in  a  line  with  the  margin  all  around,  leaving  them  to  project  a 
little,  and  in  transposed  rows.  On  the  back  part,  the  scaly  foundation  covers 
the  pasteboard  only  so  far  as  it  is  visible,  and  ends  at  the  star  in  a  slight  curve, 
whose  middle  point  is  nine  inches  distant  from  the  upper  edge.    The  first  five 


230 


HOUSEHOLD  ELEGANCIES. 


rows  follow  the  outline  of  the  margin,  the  inner  remaining  space  is  filled  up  by 
cross  rows,  curving  slightly  as  they  proceed  downward.  The  bouquet  and 
diadem  are  then  arranged  according  to  the  model,  or  one's  own  fancy.  The  back 
part  of  our  model  is  decorated  with  a  rosette  consisting  of  half  a  pine  cone, 
surrounded  by  oak  apples ;  at  either  side  is  a  spray  of  three  leaves  made  of 
apricot-pits,  and-  connected  by  a  short  natural  stem.  The  center  of  the  diadem 
on  the  front  part  is  arranged  of  pine  cones,  two  lying  opposite  each  other,  and 
one  standing  on  end  between  them,  over  the  latter  half  of  a  small  pine  cone, 
and  on  each  side  of  this  a  peach-stone.  It  is  finished  ,  off  at  the  top  by  four 
acorns,  at  the  bottom  by  a  chestnut,  in  the  middle  by  two  nutshells,  two  acorns, 
and  two  oak-apples.  Beech-nuts  form  a  vine  of  blossoms  on  either  side.  Both 
parts  are  now  varnished  with  Copal  varnish,  and  pasted  together. 

PICTURE-PEAME. 

This  pretty  frame  is  made  of  the  usual  materials :  pine  cones,  beech-nut  hulls, 
acorns,  etc.,  sewed  with  brown  thread  on  a  frame  of  card-board.    For  larger 


Fig.  12.  Picture-Frame. 

frames  it  is  advisable  to  have  them  of  wood,  and  to  sew  the  cone-work  on  card- 
board, and  then  fasten  it  to  the  frame  with  tacks  and  glue. 

NEWSPAPER  POETFOLIO.— CONE-WOEK. 

The  frame  of  the  portfolio.  Fig.  15,  may  be  cut  in  any  size  of  stout  card-board. 
The  back  part  must  be  cut  double,  and  one  of  the  parts  then  cut  around  three 


HOUSEHOLD  KLEGANCIES. 


231 


sides,  so  as  to  leave  a  frame  and  pocket  flap.  On  the  latter,  fasten  an  embroidered 
medallion  in  the  center ;  cover  the  remaining  space,  as  well  as  the  frame  of  the 
back  part,  with  brown  paper.  Arrange  the  cone-work  of  the  usual  materials, 
which  must  be  cleansed  with  water  and  a  brush,  and  sewed  on  with  brown  silk 
before  they  are  quite  dry.  The  frame  is  fastened  to  the  back  part  with  glue  and 
some  invisible  stitches,  and  the  pocket-flap  fastened  to  the  back  part  by  means 
of  side  parts,  soufflets,  of  silk  or  paper.  ' 

HAND-GLASS  WITH  DECOEATION  OF  CONE-WOEK. 
The  cone-work  in  Fig.  13  is  enriched  by  an  addition  to  the  usual  materials ; 


this  addition  consists  of  juniper-berries, 


Fig.  13.   Hand-Glass  with  border  of  Cones. 


which  being  strung  on  wire  covered 
with  brown  tissue-paper,  may  be  ar- 
ranged into  pretty  bunches  of  five  or 
six  berries  each.  The  cone-work  is 
sewed  to  a  frame  of  card-board  to 
correspond  with  that  of  the  glass ; 
then  glued  to  the  latter  or  fastened 
to  it  with  tacks.  The  card-board 
must  be  covered  with  brown  paper, 
before  the  cone-work  is  sewed  to  it. 

ETAGERE.— CONE-WOKK. 

Materials :  Pine  cones,  acorns, 
chestnuts,  etc.,  two  board  shelves, 
pasteboard,  moire  paper,  varnish, 
cord,  etc.  Our  model,  a  pretty  corner 
etagere  for  knick-knacks,  is  hung  up 
on  brown  cord.  It  consists  of  two 
boards  cut  in  a  right  angle,  the  two 
sides  of  which  measure  each  twelve 
inches,  while  the  front  is  rounded  off 
until  the  distance  from  the  center  to 
the  corner  measures  eleven  and  one- 
fifth  inches ;  that  part  of  the  boards 
which  is  to  be  the  upper  surface, 
cover  with  brown  moire  paper,  as 
also  the  sides  of  the  edges :  the 
strong  card-board  foundation  for  the 
cone-work,  is  glued  to  the  rounded 
front  of  the  shelves.  The  card-board 
is  cut  eighteen  inches  long,  one  and 
one-fifth  inches  wide  at  each  end,  and 
twelve  inches  wide  at  the  point  in 


232 


HOUSEHOLD  ELEGANCIES. 


the  middle ;  it  is  then  covered  with  brown  moire  paper  and  ghied  to  the  shelves 
in  such  ii  manner,  that  the  upper  edge  of  the  card-board  projects  about  one-filth 
of  an  inch  over  the  shelf.  When  the  glue  is  perfectly  dry,  and  holes  bave  been 
bored  into  the  back  corners  and  each  side  of  the  shelves,  begin  with  the  cone- 
v.'ork.  Loosen  the  brown  scales  from  well-grown  pine  cones,  and  cut  them  off 
until  they  have  a  length  of  four-fifths  of  an  inch.  With  these  execute  the 
vscaly  foundation,  by  gluing  them  to  the  pasteboard  in  transposed  rows  ;  the  first 
somewhat  overtopping  the  pasteboai'd.  The  upper  shelf  in  our  model,  has  a 
'y;arland  arranged  of  large  acorns  and  small  pine  cones.  The  lower  shelf  sIiona  s 
a  decoration  of  pine  cones  in  the  center,  and  on  each  side  chestnuts  with  the 
husks  of  beech-nuts  to  represent  blossoms.  Each  part  of  the  work  must  be  glued 
very  firmly.  For  the  tassels  at  the  points  select  large  pine  cones  ;  bore  a  hole  at 
the  top ;  insert  a  loop  of  wire,  for  which  a  corresponding  wire-hook  must  be  at- 


Fig.  14.   Etagere.  Fig.  15.  Portfolio. 


tached  to  the  point  of  the  cone-work  decoration.  Larger  pine  cones  prepared  in 
a  similar  manner,  serve  as  tassels  at  the  ends  of  the  cord  on  which  the  shelves 
hang,  and  the  top  of  a  cone  constitutes  the  rosette  which  finishes  off  the  loops 
of  cord.  When  the  etagere  is  quite  finished  and  completely  dry,  cover  the  sur- 
face, as  well  as  the  tassels,  with  several  coats  of  good  wood  varnish,  applied  with 
a  soft  and  large  brush. 


HOUSEHOLD  ELEGANCIES. 


KNITTING  OR  KEY  BASKET. 

The  frame  of  this  basket,  which  is  decorated  with  cone-work,  lined  with  red 
merino,  and  may  serve  as  a  repository  for  keys  or  any  kind  of  work,  is  con- 
structed of  card-board.  The  bottom  part,  the  corners  of  which  are  lopped  off, 
measures  seven  and  three-fifths  inches  in  length,  and  four  inches  in  width.  To 
this  is  affixed  a  rim  of  card-board  two  inches  high,  and  of  the  requisite  length. 
The  card-board,  when  moistened  very  slightly,  easily  adjusts  itself  to  the  shape 
of  the  bottom  part,  to  which  it  is  sewed  or  pasted.    When  the  rim  has  been 


Fig.  16.  Basket. 


bound  at  the  top  with  red  merino,  the  handle  is  to  be  attached  to  it.  The  lat- 
ter, covered  with  brown  paper,  measures  nine  and  one-fifth  inches  in  length,  and 
is  one  inch  wide,  widening  at  the  ends  and  in  the  middle  about  three-fifths  of 
an  inch. '  Tlie  smooth  covering  on  the  basket  is  made  of  the  scales  of  pine-cones, 
and  the  garland  around  it,  and  around  the  handle,  is  made  of  a  tasteful  arrange- 
ment of  acorns,  alder-catkins,  beech-nuts,  etc.,  excluding  such  larger  objects  as 
pine  cones  and  the  like.  The  cone-work  is  sewed  on ;  the  stitches  at  the  l)ack 
are  covered  on  the  handle  with  brown  paper,  and  inside  the  basket  with  a  lining 
of  red  merino,  which  is  finished  off  at  the  top  by  a  four-fifths-inch-wide  frill  of 
fringed  merino.  Beneath  this  frill,  a  bag  provided  with  a  draw-string  may  be 
attached,  as  seen  in  the  engraving. 

NEEDLE-BOOK.— FANCY  WORK. 

Materials  :  Stiff  card-board,  a  piece  of  white  velvet,  cloth  or  silk,  brown  silk 
ribbon  an  inch  wide,  fine  white  flannel,  white  and  brown  twist-silk,  scales  of 
pine  cones,  dried  field-flowers,  etc. 

Both  covers  of  our  model  consist  each  of  an  oval  piece  of  card-board  three  and 


234 


HOUSEHOLD  ELEGANCIES. 


one-fifth  inches  long  and 
two  and  two-fifths  inches 
wide,  covered  smoothly 
with  white  velvet,  and 
connected  by  a  short  strip 
of  ribbon  to  form  th-j 
back  of  the  book.  Edge 
the  cover  with  two  rows 
of  even  pine-cone  scales, 
seeing  them  on  with 
brown  silk,  and  cover  the 
stitches  on  the  back  by 
pasting  over  with  white 
cambric  or  glazed  paper. 
A  tasteful  arrangement 
Fig.  17.  Needle-Book.  of  dried  field-flowers  deco- 

rates the  center.  It  is  best  to  paste  these  on.  The  white-flannel  leaves  to  hold 
the  needles  are  button-hole  stitched  all  around ;  a  bow  of  brown  ribbon  holds 
the  two  covers  of  the  needle-book  together. 


LAMP-MAT.— CONE-WOEK. 

To  construct  this  mat,  cut  a  circle  of  card-board  twelve  inches  in  diameter, 
and  cut  the  margin  into  six  equal '  scallops,  each  about  one  and  one-fifth  inches 


Fig.  18.  Lamp-Mat. 

deep.  Cover  this  smoothly  with  green  or  red  cloth ;  finish  it  off  with  rows  of 
pine-rcone  scales,  and  arrange  a  bouquet  of  the  usual  materials  in  each  scallop. 


ft 


HOUSEHOLD  ELEGANCIES. 


235 


By  adding  walnuts,  hazel-nuts,  poppy-heads,  laburnum-pods,  petrified  bugs  and 
snails,  the  elfect  will  be  greatly  heightened. 

SPEUCE-WORK. 

Besides  the  beautiful  ornamental  value  of  the  Noi-way  spruce  in  the  decora- 
tion of  our  yards  and  lawns,  or  the  grand  feeling  of  admiration  with  which  our 


Fig.  19.  Spruce-Frame. 


minds  are  filled  at  their  impressive  appearance  in  forest  majesty,  there  are  other 
ways  in  which  they  can,  in  their  younger  growth,  be  made  to  subserve  admirable 
household  ornaments,  and  add  to  indoor  luxuries  and  comforts.    A  lady  friend, 


236 


HOUSEHOLD  ELEGANCIES. 


equally  in  love  with  both  phases  of  spruce  beauty,  says,  in  a  pleasant  little  de- 
scription of  her  achievement  in  household  art : 

"  There  are  two  ways  of  considering  a  Norway  spruce  :  One  way  is  to  stand  off 
and  admire  its  noble  outline,  as  it  rears  itself,  a  pagoda  of  jiving  green,  against 
the  sky,  with  its  story  upon  story  of  fringed  branches,  its  beautiful,  long,  pend- 
ent cones,  and  its  delicate  hue  seeming  dark  because  of  the  rich  masses  of  foli- 
age. The  other  way  is  to  approach  with  a  knife  in  one  hand,  the  corners  of  an 
upheld  apron  or  the  handle  of  a  basket  in  the  other,  the  head  inclined  a  little  on 
one  side,  and  a  resolute,  pursed-up,  I'm-going-to-cut  expression  on  the  face.  Alice 
and  I  often  regard  our  Norway  spruces  in  this  last  pracncal  fashion,  and  when 
we  do  so,  it  is  because,  in  our  mind's  eye,  we  see  something  hanging  there  be- 
sides the  beautiful  long,  brown  cones.  We  see  lovely  easels  and  picture-frames, 
and  a  host  of  pretty  objects  which  will  be  just  the  thing  for  Christmas  presents. 
So,  as  resolutely  as  the  sculptor  begins  to  chip  from  his  marble  the  fragments 
that  are  hiding  his  imprisoned  statue,  we  plung  into  the  tree,  intent  upon  free- 
ing our  brackets,  easels,  and  what-nots  from  the  concealing  embrace  of  its  long, 
sweeping  branches." 

Fortunately  we  have  several  specimens  of  this  noblest  of  all  the  firs,  within  a 
few  yards  of  our  door.  Some  rear  their  grand  old  heads  (that's  a  figure  of 
speech,  of  course,  for  the  top  is  always  the  newest  part)  to  a  height  of  one  hun- 
dred and  twenty  feet,  and  some  are  not  much  taller  than  ourselves.  Our  great 
care,  at  the  outset,  is  to  cut  our  wood  in  such  a  way  as  not  to  injure  the  tree, 
but  rather  to  serve  the  purpose  of  judicious  pruning.  The  pieces  must  be  froin 
three  to  twelve  or  eighteen  inches  long,  and  should  be  taken  from  the  leaders  of 
the  branches  or  their  latest  growths.  By  doing  this,  we  induce  them  to  throw 
out  more  side-shoots,  and  so  increase  the  richness  of  the  tree.  Of  course  we 
often  manage  to  get  a  few  little  branches  from  the  hidden  recesses  of  the  foliage, 
giving  the  preference,  when  prudence  permits,  to  the  shoots  which  have  the 
finest  clusters  of  wood-buds,  for  these  will  aid  us  very  materially  in  beautifying 
our  work.  The  wood  obtained,  we  carry  our  bristling  treasure  to  the  house, 
and  proceed  to  free  it  of  its  leaves  —  not  feathery  now,  or  fringe-like,  that  was 
a  "  general-effect "  quality ;  but  each  branch  a  very  fretful  little  porcupine  in  its 
own  right.  The  best  method  is  to  heat  the  pieces  quickly,  a  few  at  a  time,  so 
as  to  dry  and  loosen  the  leaves,  and  then  to  scrape  them  with  a  dull  knife  in  the 
direction  of  the  foliage,  taking  care  not  to  destroy  the  wood-buds.  The  pretty, 
rough  wood  will  soon  appear,  with  a  sort  of  Chaldaic  writing  on  its  surface, 
which,  being  interpreted,  saith :  "  Use  me  at  once,  or  I  will  grow  rigid  and 
unmanageable."* 

Everything  is  ready.    The  glue-pot  is  on  the  fire.    On  a  tray  upon  the  bared 


*It  is  practicable,  however,  to  use  spruce-wood  that  has  been  scraped  and  laid  hy.  It  should 
then  be  steamed  slightly,  so  as  to  render  it  pliable. 


* 


HOUSEHOLD  ELEGANCIES. 


237 


table  lie  papers  of  pins  (very  small  ones,  and  others  of  medium  size),  a  small,  flat 
varnishing  brush,  a  little  coil  of  copper  wire,  a  penknife,  a  tack-hammer,  and 
scissors  which  do  not  shrink  from  the  duty  of  pin-cutting.*  Thei-e  are  also 
flat,  square  pieces  of  soft,  pine  board,  on  which  we  may  arrange  our  work  and 
pin  it  into  shape,  by  gently  driving  the  pin  through  as  yve  would  a  tack ;  alf  o  pine 
bracket-frames,  formed  like  a  T,  with  a  shelf-top,  made  of  half  a  salt-box  lid, 
which  we  can  cover  with  spruce-sticks,  adding  a  front  and  back  of  fanciful 
lattice-work,  meeting  in  a  cluster  of  wood-buds  at  the  bottom  of  the  T. 

#  PICTUEE-FEAMES. 
In  making  one  of  these,  we  first  pencil  upon  our  board  the  exact  size  of  the 
inner  and  outer  lines  of  our  proposed  frame,  using  a  ruler  and  dividers,  so  that 
our  work  may  be  perfectly  true  and  even.  Then  we  proceed  to  arrange  our 
wood  according  to  our  fancy,  pinning  it  into  shape,  guided  by  the  drawing  on 
the  block  as  we  proceed,  until  the  whole  general  outlines  are  completed.  This 
done,  we  deftly  part  the  sticks  that  are  pinned  together,  just  enough  to  enable 
us  to  insert  a  tiny  drop  of  glue ;  then,  when  all  is  pressed  back  firmly  in  place 
again,  we  proceed  to  enrich  our  work  by  gluing,  or,  better  still,  pinning  on 
whatever  little  clusteri:;  of  wood-buds  we  may  have  to  spare.    Sometimes  we 

rob  fresh  sticks  for  the  purpose,  but 
often  w^e  find  that  in  forming  our  frame 
we  have  been  obliged  to  cast  some  buds 
aside,  and  these  can  now^  be  put  on  in 
clusters  wherever  taste  may  suggest. 
Sometimes  we  fasten  them  on  the  ends 
of  the  sticks  with  a  long  pin,  and  some- 
times scatter  them  about  wherever  they 
may  be  needed  for  the  general  effect 
(see  Fig.  20).  The  next  process  is, 
wh'm  the  glue  is  stiffened,  gently  to  dis- 
engage the  frame  frome  the  pine  board, 
which  can  easily  be  done  by  inserting  a 
case-knife  or  paper-cutter  between  them ; 
and  then,  pushing  the  heads  of  the  pins 
w^ell  in,  to  cut  off  their  points  with  the 
willing  scissors  aforesaid.  If  requisite, 
a  little  glue  may  be  applied  on  the  back, 
just  where  the  pin's  points,  are  cut  off 
Xext,  laying  the  frame  front  downward, 
an  extra  spruce-stick  may  be  fastened  with  little  pins  on  the  entire  length  of 


Fig.  20.  Picture-Frame. 


*  There  is  a  stylo  of  pincers  or  pliers,  which  are  so  constructed  as  to  cut  wires  and  pins;  but 
we  have  not  yet  enjoj'ed  the  luxury  of  using  them. 


238 


HOUSEHOLD  ELEGANCIES. 


each  of  the  four  inner  sides  of  the  square,  so  as  to  fill  the  space  in  passe-partout 
style,  between  frame  and  picture,  whenever  the  latter  shall  be  inserted.  It  can 
then  be  laid  aside  ready  for  varnishing.  It  may  be  mentioned  here  that  the 
picture,  or  group  of  pressed  autumnal  leaves,  or  whatever  is  to  be  framed,  should 
be  of  a  size  to  enable  its  edges  to  be  hidden  behind  the  solid  part  of  the  frame, 
and  it  then  can  be  securely  fastened  in  place  by  means  of  copper  wire  crossed 
over  the  back  of  the  picture,  and  neatly  wound  around  the  inner  corners  of  the 
frame,  where  the  spruce-sticks  intersect  each  other. 

EASELS.  # 

The  easels  are  constructed  in  very  much  the  same  way  as  the  frames,  using  a 
board  with  penciled  diagram  for  a  guide,  and  taking  care  that  the  projecting 


HOUSEHOLD  ELEGANCIES. 


239 


ledge  on  which  the  picture  is  to  rest  be  made  straight  and  firm.  The  easel  pat- 
tern in  the  illustration  is  a  very  beautiful  one,  and  easy  to  make.  The  pattern 
of  the  back  piece  explains  itself.  The  bands  of  the  latter  and  the  hinges  may 
be  formed  of  copper  wire,  which  is  very  pliable,  and  matches  the  wood  perfectly 
in  color, 

MATCH-HOLDEES. 

After  the  instructions  already  given, 
it  will  be  easy  to  make  a  lamp-lighter 
or  match-holder,  like  the  above.  The 
frame  of  the  box  can  be  made  of  paste- 
board, though  if  a  wooden  form  can  be 
obtained  it  will  be  firmer  and  more 
easily  covered  with  the  spruce-wood. 
An  interlining  of  bright-colored  silk, 
showing  through,  sometimes  improves 
the  effect  of  the  box. 

I  have  but  a  few  more  particulars  to 
offer.  It  is  well  to  use  always  as  little 
glue  as  possible,  depending  mainly 
upon  the  pins,  and  if  these  are  small 
enough,  the  heads  will  not  show  after 
the  varnishing.  For  this  we  always 
use  gum-shellac  varnish,  as  it  dries 
quickly,  and  gives  a  firmness  and  soft 
luster  to  the  surface  preferable  to  the 
unpleasant,  shiny  effect  of  other  var- 
nish. It  can  be  purchased  in  almost 
any  paint-shop  or  can  readily  be  made 
by  dissolving  dry  gum-shellac  in  good 
Fig.  26.  Match -Holder.  alcohol,  putting  in  as  much  as 'the  lat- 

ter will  dissolve.  All  kinds  of  spruce- work  should  be  re-touched  with  sTiellac 
once  or  twice  a  year,  in  order  to  preserve  its  freshness  and  beauty ;  though  it 
will  last  for  many  years  without  any  such  precaution. 

PAMPHLET  OR  CARD  RECEIVERS. 

With  a  little  ingenuity,  beautiful  hanging  pamphlet-receivers  can  be  made  of 
spruce-wood  by  following  the  general  directions  observed  in  other  forms  of 
spruce-work.  We  have  not  made  any  yet,  nor  have  we  seen  one  except  in 
the  mind's-eye  view  which  we  had  of  our  dear  old  spruce-tree  this  morning. 
Yes,  there  it  hung  all  complete !  It  had  some  sort  of  a  high-arched  back  (the 
easel  suggests  a  form  for  that),  and  a  kind  of  portfolio-pocket  as  wide  as  the 


240 


HOUSEHOLD  ELEGANCIES. 


back,  and  reaching  about  half-way  up.  The  outside  of  this  pocket  was  a  lattice 
of  spruce-wood,  lightly  and  gracefully  designed,  and  lined  with  crimson  satin. 
To-day  it  hangs,  a  suggestive  phantom,  in  the  spruce-tree.  On  Christmas 
morning  it  shall  hang,  a  beautiful  reality  on  the  walls  of  G  's  sitting-room." 

SPRUCE-WOOD  WOEK. 

We  give  also,  illustrations  of  other  styles  of  spruce-wood  woik,  in  which 
charming  results  are  produced.  Other  kinds  of  wood  may  be  used,  but  the 
twigs  and  branches  of  the  Norway  spruce  are  best  a||pted  to  the  purpose. 
Cigar-cases,  match-safes,  and  fancy  boxes  for  various  uses',  are  made  to  resemble 
a  miniature  cord  of  wood,  stacked  with  perhaps  a  few  gray  lichens  clinging  to 
it  here  and  there.  Pretty  vases  for  flowers,  ajh-receivers,  napkin-rings,  pincue'li- 
ion-stands,  and  scent-bottle  holders,  also,  can  be  made  of  spruce ;  and  made  so 
firmly  and  evenly  as  to  quite  do  aw^ay  with  the  old-time  objection  to  spruce-work 
— its  "•  tottery  "  home-made  look.  To  prepare  the  wood,  which  may  be  gathered 
in  winter,  lay  each  twig  flat  upon  a  piece  of  board,  and  scrape  it  lengthwise  with 
a  strong  knife,  in  the  direction  of  its  spike-like  leaves,  until  they  are  all  removed, 
leaving  the  glossy,  brown,  prickly  wood  ready  for  use. 

WOOD-BOXES,  SAEES,  ETC. 

These  are  mado  of  any  size  desired.  First,  pile  a  number  oi  twigs  together 
evenly,  gluing  each  one  firmly  in  place  as  you  lay  it  on,  until  the  pile  is  of  the 


Fig.  27,   Tobacco  or  any  kind  of  Box. 

required  size.  When  the  glue  is  thoroughly  dry,  saw  the  pile  through  crosswise 
in  slices,  until  you  have  a  number  of  sheets  of  what,  for  the  present  purpose, 
may  be  called  log-veneering,  as  it  resembles  the  end  of  a  pile  of  logs.    Now  take 


HOUSEHOLD  ELEGANCIES. 


241 


a  plain  pine-wood  box,  which  can  be  easily  made  at  home ;  paint  the  inside,  or 
line  it  with  tin-foil,  or  fancy  paper,  or  silk,  and  cover  its  top  and  ends  with 
splitted  spruce,  glued  on  side  by  side.  Then  cover  the  front  and  back  of  the 
box  with  the  log-veneering  already  described,  and  the  effect  will  be  that  of  a  lit- 
tle pile  of  logs.  Upright  braces  can  be  placed  at  the  two  ends  of  the  pile  to 
complete  the  i*esemblance  to  a  cord  of  wood ;  scraps  of  gray  and  green  lichen 
may  be  glued  on  as  taste  may  suggest,  and  the  box  may  be  set  upon  a  card,  the 
projecting  edges  of  which  can  be  covered  with  moss,  lichen,  wood-buds,  brown 
earth,  or  twigs.  Of  coi^se,  care  must  be  taken  to  make  the  direction  of  tho 
split  spruce  correspond  appropriately  with  the  position  of  the  veneering,  and, 
when  necessary,  the  front  and  back  edges  of  the  lid  also  should  be  covered  with 
the  veneering.  For  match-safes,  the  cover  can  be  simply  a  pine  piece,  of  just 
the  size  of  the  opening,  covered  on  its  under  side  with  sand-paper,  and  on  its 
upper  side  with  spruce  twigs,  the  projecting  ends  of  which  will  hold  it  in  place. 

UPEIGHT  MATCH-STAISTDS. 

Take  a  , toy  churn,  such  as  is  sold  in  the  shops  for  two  or  three  cents,  and  cover 
it  with  split  spruce,  tying  it  around  about  one  third  from  the  top  with  a  band  of 
split  spruce  or  of  grape-vine  bark ;  handles  can  be  placed  at  the  side,  and  orna- 


Fig.  28.  Match-Box. 

16 


242 


HOUSEHOLD  ELEGANCIES. 


mental  bits  of  moss  or  lichen  added. 
The  cover  of  the  churn,  if  left  on, 
should  be  cut  away  inside,  so  as  to 
leave  the  requisite  o^^ening  for  the 
matches.  It  can  be  neatly  lined  as 
far  down  as  needed  with  split  spruce. 

ASH-RECEIVEES. 

Make  the^rame  of  wood,  of  any 
pattern  desired ;  line  it  with  tin-foil : 
fasten  a  strong  copper  wire  across  the 
top,  and  cover  the  outside  with  spruce. 


Fig.  29.  Ash-Receiver.  according  to  fancy. 

FLOWEE-YASES. 

Cover  the  entire  outside  of  a  wine-glass,  vase,  or  goblet  with  brown  paper- 
muslin,  sewed  or  fastened  on  with  gum-tragacanth.    Then  cover  the  muslin  with 


Fig.  30.  Flower-Vase. 


HOUSEHOLD  ELEGANCIES. 


243 


spruce-wood,  moss,  and  lichen,  glued  on  as  taste  may  dictate.  These  vases, 
when  filled  with  flowers,  have  a  beautiful  effect,  especially  in  country  houses. 

A  SPEUCE-WOOD  CHAIR. 

This  "  arm-chair "  is  made  as  follows :  Take  little  bows  from  the  Norway 
spruce,  and  let  them  dry  till  the  green  will  shake  off ;  then  soak  the  sticks  in 
warm  water  a  short  time,  so  that  pins  will  go  through  them  easily.    Leave  the 


Fig.  31.  A  Home-made  Chair. 

buds  on  the  ends ;  then  choose  or  shape  two  of  uniform  size  for  the  back  and 
legs,  also  two  short  ones  for  the  front  legs  and  the  cross-rounds,  as  you  see  in 
the  picture ;  fasten  them  together  with  common  pins ;  when  completed,  cut  off 
the  points  of  the  pins.    Make  the  cushion  of  silk  or  velvet ;  cut  the  upper  part 


244 


HOUSEHOLD  ELEGANCIES. 


larger  than  the  lining,  to  make  room  for  the  stuffing ;  cotton  is  the  best  for  stuff- 
ing ;  you  can  have  the  cushion  tacked  or  plain,  according  to  fancy.  Set  the 
cushion  upon  two  cross-pieces,  and  fit  it  carefully  to  the  bottom  frame.  Fasten 
the  cushion  at  the  back  by  sewing.  Other  articles  of  furniture  may  be  made  of 
spruce-wood  in  the  same  way. 

NAPKIN-EINGS. 

Take  a  strip  of  strong  card-board  or 
Bristol-board,  an  inch  and  a  half  wide ; 
cover  it  crosswise  with  split  spruce  sewed 
or  glued  on  closely  side  by  side ;  when 
nearly  the  required  length  is  covered, 
join  the  ends  so  as  to  form  a  ring,  and 
fill  up  with  spruce  so  as  to  hide  the  join- 
ing. The  ends  of  the  spruce  should  pro- 
ject- beyond  the  pasteboard,  which,  be- 
fore the  wood  is  laid  on,  should  be  lined 
with  bright  silk  or  birch-bark,  folded 
Fig.  32.  Napkin-Ring.  over  the  edges. 

All  these  articles,  when  finished,  are  improved  by  giving  the  spruce-wood  a  coat 
of  shellac  varnish ;  this  gives  a  soft  luster  without  having  the  disagreeable  shine 
produced  by  other  varnishes.  Where  wooden  frames  are  used,  fine  brads  or  very 
small  pins  may  be  driven  in  to  give  additional  security  to  glued  portions. 

PINCUSHION-STANDS. 

Have  them  turned  of  wood,  of  any  pattern  you  prefer,  and  cover  with  spruce. 
A  very  pretty  stand  is  made  without  a  frame-work  by  placing  six  good-sized 
twigs,  of  equal  length  and  thickness,  side  by  side,  but  about  an  inch  apart,  on  a 
piece  of  card-board  covered  with  moss  or  plush ;  then  laying  Six  more  uDon  these 
in  the  same  way,  but  at  right  angles  to  them  ;  then,  on  these  again,  six  more  at 
right  angles,  and  so  on  till  the  desired  height  is  obtained.  This  kind  of  stand 
can  be  graduated  so  as  to  be  small  at  the  top.  All  the  twigs  should  be  glued  in 
place,  except  the  foundation-row,  which,  though  attached  to  the  second  row, 
should  be  left  free  from  the  moss  or  plush  base  so  that  the  entire  stand  may  be 
lifted  from  it  for  dusting. 

A  EUSTIC  BOX. 

We  give,  with  Fig.  33,  a  picture  of  a  very  tasteful  wall-box,  made  by  a  little 
girl  eleven  years  of  age.  In  the  first  place  she  obtained  an  old  cigar-box,  lined 
the  inside  with  silk,  and  fastened  an  upright  form  of  Bristol-board  to  the  back. 


HOUSEHOLD  ELEGANCIES. 


246 


This  back-piece  she  covered  with  strips  of  grape-vine  bark,  neatly  glued  on ;  and 
in  like  manner  covered  the  box  with  twigs  of  the  Norway  spruce,  after  first 
scraping  off  their  green  spikes  or  leaves.  This  done,  she  ornamented  it,  as  you 
see,  with  acorns,  parts  of  pine  cones,  and  leather-leaves,  secured  to  the  box  with 
slender  brads  and  glue ;  and  when  all  the  parts  were  dry,  she  varnished  the 
whole  with  shellac  varnish.  You  can  make  this  varnish  yourself.  Buy  at  al- 
most any  druggist's  or  paint-store  about  ten  cents'  worth  of  gum-shellac  ;  bre  ik 
it  up  in  pieces,  put  it  in  a  wide-mouthed  bottle,  cover  it  with  good  alcohol,  and 


Fig.  33.   A  Rustic  Box. 


let  it  stand  until  you  have  a  dark  brown  mixture,  about  as  thick  as  New  Orleans 
molasses.  If  you  find  it  too  thick  to  make  a  fine,  clear  varnish,  when  applied 
with  a  brush,  you  may  dilute  it  by  pouring  in  a  little  more  alcohol  and  shaking 
the  bottle.  The  advantage  of  using  this  preparation  is  that  it  gives  a  fine,  soft 
gloss,  instead  of  the  hard,  shiny  effect  of  most  other  varnishes. 

These  boxes  also  are  very  pretty  when  made  without  the  high  back,  and  are 
suitable  for  holiday  gifts.  It  is  best  to  ornament  the  box  only  with  natural  ob- 
jects— not  to  mix  leather-leaves  among  them.  Leather-work  is  good  in  its  way, 
but  it  is  not  needed  where  you  have  real  twigs,  acorns,  bark,  and  pine  cones. 


246 


HOUSEHOLD  ELEGANCIES. 


NUT  AND  SEED  WOEK. 

The  exceeding  beauty  of  some  seeds  and  nuts  have  caused  ingenious  persons 
to  form  them  into  objects  of  use  and  beauty,  a  few  of  which  we  will  describe 
and  thus  lead  our  readers  to  still  further  efforts  in  this  line,  which  we  believe 
is  capable  of  far  greater  results  than  have  yet  been  accomplished,  hi  the  first 
place,  we  would  advise  om-  friends  to  purchase  many  varieties  of  beans,  and  cul- 
tivate them  with  a  view  to  appropriating  them  to  fancy-work ;  for  of  the  exceed- 
ing beauty  of  some  of  these  seeds,  we  believe  few  persons,  comparatively,  have 
the  remotest  conception.  Some  of  them  are  as  beautifully  mottled,  spotted, 
marbled  and  painted  as  the  most  elegant  mosaic-work,  while  their  symmetrical 
form,  and  highly  enameled  surface  render  them  well  adapted  for  the  purpose  of 
forming  chain-work  of  every  description. 

Many  nuts,  too,  such  as  the  horse-chestnut,  the  little  chinquapin,  etc.,  have 
shells  of  such  beauty  and  capable  of  .taking  such  a  fine  polish,  that  when  ar- 
ranged tastefully  they  appear  like  highly-finished  wood-carvings. 

Acorns  may  be  made  the  medium  of  holding  ferns  in  a  variety  of  pretty  ways, 
either  in  a  room,  or,  still  better,  in  a  green-house,  or  small  window-garden,  open- 
ing, perhaps,  out  of  a  back  parlor  or  drawing-room.  The  acorns  are  soft  when 
new,  and  a  hole  may  be  readily  made  by  slipping  through  them  a  large  twine 
packing-needle.  Thread  them  on  wire — a  large,  round  cut  white-glass  bead  be- 
tween eyery  one.  The  beads  are  sold  by  the  row  to  milliners,  at  places  where 
such  articles  are  vended.  The  German  oblong  beads  should  not  be  used,  because 
they  have  a  clumsy,  unfinished  look  for  such  a  purpose.  The  holes  in  the  beads 
nmst  be  large  enough  to  pass  over  rather  strong  wire.  The  wire  is  bought  by 
the  piece,  in  a  coil. 

VASE  OF  COLOEED  BEANS. 

The  vase  here  described  may  be  made  of  any  colored  or  sized  beans  desired, 
but  in  selecting  the  beads  which  are  combined  with  them,  care  must  be  taken 
to  produce  a  pleasing  contrast  or  tasteful  combination. 

.  The  beans  being  soft  when  newly  gathered,  holes  may  be  easily  pierced 
through  them,  either  lengthwise  or  through  the  center  from  side  to  side.  Thread 
them  through  these  holes  on  a  wire,  with  a  large  round  glass  bead  between  each 
one — not  the  large  German  beads,  which  would  by  their  irregularity  give  a  rough, 
unfinished  appearance  to  the  work. 

Make  first  a  ring  for  the  bottom  of  the  urn  or  vase,  and  another  for  the  toi?, 
of  any  desired  size,  stringing  the  beans  and  beads  upon  them.  The  wire  should 
be  as  thick  as  a  large-sized  knitting-needle.  After  making  two  circles  for  the 
top  and  bottom,  proceed  to  form  the  sides  by  turning  a  hook  over  on  the  end  of 
the  wire  and  fastening  it  to  the  top  ring,  between  the  beans.  Pinch  the  wire 
close,  with  pliers,  to  hide  the  joint.    Thread  this  with  the  beans,  etc.,  until  it  is 


HOUSEHOLD  ELEGANCIES. 


247 


sufficiently  long  to  form  the  ribs  of  the  vase,  as  shown  in  Fig.  35  at  A ;  to  cross  at 
the  narrow  part,  to  form  the  swelling  part  of  the  vase,  B,  and  fasten  again  to  the 
lower  ring.  This  wire  is  then  cut  oft'  with  "tin-shears,"  and  the  other  part 
*  formed  in  the  same  manner,  and  both  are  then  crossed  by  another,  diagonally. 
If  the  urn  is  large,  there  may  be  two  of  these  on  each  side,  making  six  equal 
sides  to  the  urn  instead  of  four.  Where  they  cross  at  the  narrow  part  of  the 
vase,  bind  them  well  together  with  fine  zephyr  or  thread.  These  bindings  must 
not  show,  and  fine  thread-wire  is  much  better  than  other  material  for  fastening. 
Bend  the  six  pieces  into  proper  shape,  by  giving  a  regular  and  gi-aceful  curve ; 


Fig.  34.   Hanging-Basket.  Fig.  35.  Vase, 

join  the  wire  to  one  of  them,  and  carry  it  round  the  widest  part  of  the  urn  at  C, 
joining  it  with  fine  wire  to  every  part  where  it  crosses.  Next  put  in  the  upper 
Vandykes,  fastening  the  strung  wires  in  the  same  way  as  before.  The  handles  are 
rings  of  the 'beans  and  beads  attached  to  each  side,  as  shown  in  the  illustration. 

The  beans  should  be  of  uniform  size  for  each  separate  part,  and  the  same 
number  between  each  corresponding  division ;  for  instance,  the  bottom  ring  may 
contain  thirty  large  beans,  and  the  central  circle  fifty  of  medium  size ;  then  the 
divisions  reaching  between  these  should  contain  small  ones,  perhaps,  but  they 


248 


HOUSEHOLD  ELEGANCIES. 


must  be  alike  in  size  and  number,  so  also  the  Vandykes.  Fill  the  vase  with 
moss,  green  side  out,  and  pack  soil  in  the  center,  in  which  plant  ferns,  etc.  The 
effect  of  the  moss  against  the  beautifully-colored  basket  is  lovely,  and  the  crystal 
beads  glisten  out  of  the  green  like  so  many  dew-drops. 

In  Fig.  34,  we  show  a  hanging-basket  made  of  the  nuts  of  the  acorn,  arranged 
in  a  similar  manner.  A  circle  is  formed  for  the  top,  from  which  side-bars  ex- 
tend to  a  small  circle  at  the  bottom ;  while  between  the  Vandykes  are  formed 
by  passing  the  wire  diagonally  from  one  to  the  other,  as  shown  in  the  illustra- 
tion. The  acorn-nut  should  be  held  in  the  cup  by  means  of  the  wire,  and  the 
beads  for  this  should  be  either  the  crystal  or  opaque  white,  and  of  the  size  of  a 
pea.  Handles,  made  of  rings  of  wire,  are  first  strung  with  the  acorns  and  beads, 
from  which  tassels  of  beads  depend  ;  one  is  also  arranged  at  the  bottom  and  from 
the  supports  at  the  point  where  the  three  are  joined.  A  similar  basket  is  formed 
of  the  pure  white  beans,  joined  with  the  cut  chalk-white  beads,  which  gives  the 
work  the  appearance  of  carved  ivory.  This  basket,  with  either  a  lining  of  green 
moss  or  a  Bohemian  glass  finger-bowl  placed  in  it,  is  elegant.  These  white 
beans  are  beautiful,  joined  with  bright  scarlet,  opaque  beads,  or  with  blue  of  the 
same  kind.  A  dark  brown  bean  looks  well  with  amber-colored  beads,  and  the 
scarlet  and  white  kind,  called  "  red  robins,"  are  pretty  alone,  as  they  are  bright 
in  themselves ;  but  the  tops  of  poppy-heads  placed  between  them  is  a  beautiful 
addition. 


CHAPTER  XII. 


MISCELLANEOUS  FANCY  WORK. 


PEEFOEATED-CAED  WOEK  AND  CAED-BOAED 
OENAMENTS. 

A  FEW  years  since  we  were  unacquainted  with  this  material,  or  the  many 
elegant  uses  to  which  it  may  be  applied.  We  may  except,  however,  the  plain 
white  variety,  of  which  our  mothers  formed  book-marks,  with  a  text,  motto  or 
some  device  wrought  upon  it,  with  colored  silk  or  silver,  gold  or  steel  beads. 
Now,  we  have  the  white  card  of  such  fine  quality,  that  articles  composed  of  it 
appear  as  if  finely  embossed,  or  in  some  cases,  like  chiseled  marble;  and  the 
gold  and  silver  varieties  of  different  patterns  are  among  the  richest  and  most 
elegant  materials  of  which  fancy  articles  are  made. 

GOLD  PEEEOEATED  CAED-BOAED. 

To  form  the  different  kinds  of  gold  and  silver  card  into  fancy  articles,  it  is 
merely  necessary,  in  many  cases,  to  use  a  binding  of  gay  ribbon,  and  lining  of 
silk  or  satin  or  of  corresponding  color  ;  but  when  the  meshes  are  large,  the  fine 
chenille,  such  as  is  used  for  embroidery  or  No.  1  velvet  ribbon  drawn  through 
the  openings,  will  be  found  to  add  brightness,  and  give  a  still  richer  effect  to  the 
work ;  and  in  case  the  perforations  are  similar  to  the  white  card,  floss  or  em- 
broidery silk  or  split  zephyr,  wrought  into  a  regular  ]3attern,  will  be  found  a 
beautiful  addition. 

In  describing  various  articles  in  their  respective  departments,  we  have  ex- 
plained the  methods  of  applying  this  gold  and  silver  card,  and  this  section  is 
designed  more  particularly  to  explain  the  embossed  work,  formed  by  using  the 
white  card,  cut  into  sections  and  fastened  together,  so  that  some  parts  appear  as 
if  embossed,  or  perhaps  more  correctly  speaking,  carved  out  in  relief. 


250 


HOUSEHOLD  ELEGANCIES. 


Fig.  1.  Cross  in  Perforated  Card -Board  Work. 


HOUSEHOLD  ELEGANCIES. 


251 


CASKET  WITH  COLOEED  DESIGNS. 

A  most  beautiful  style  of  casket  or  case  is  made  thus :— Obtain  from  some 
fancy  store,  a  package  of  the  lovely  embossed  or  oil  prints  of  very  small  size, 
and  all  of  the  same  character  and  dimensions.  The  number  of  these  required 
will  depend  upon  the  manner  in  which  the  box  is  to  be  constructed ;  if  four 
panels  are  desired  upon  the  front  and  back,  two  on  each,  and  one  on  each 
end,  with  two  on  the  lid,  eight  pictures  will  be  needed ;  if  these  are  oval,  a  space 
must  be  cut  from  the  center  of  each  piece  and  the  card-board  cut  just  large 
enough  to  form  a  narrow  mat,  of  one  hole,  at  the  narrowest  part.  The  size  of 
the  box  depending  on  the  dimensions  of  the  pictures.  Having  cut  these  eight 
pieces  the  size  of  the  picture,  cut  another  one  hole  larger  each  way,  then  another 
still  one  hole  larger  than  the  last ;  do  this  with  each  picture,  and  always  place  a 
weight  on  the  parts  until  dry  ;  after  putting  this  third  row  on,  cut  a  fourth  with 
four  holes  cut  out  in  a  square,  leaving  four  and  cutting  four,  both  in  length  and 
breadth.  Cut  three  rows  in  this  way,  making  each  one,  one  hole  larger  than  the 
last ;  then  cut  out  some  little  pieces  of  three  holes  square,  which  place  on  each  of 
the  square  parts  of  four  holes,  then  cut  pieces  of  two  holes  square,  and  finally  tiny 
scraps  of  only  the  little  square  or  cross  left  between  four  holes.  Place  these  on 
the  squares  of  three  holes.  The  parts  are  then  put  together  as  before  described, 
and  the  little  pictures  pasted  down  on  the  top,  the  panel  being  around  them 
like  a  frame-work.  The  holes  in  the  card-board  must  be  carefully  counted,  and 
sufficient  number  allowed  in  each  one  of  the  widest  pieces  to  admit  of  the  orna- 
mentation, being  reduced  to  a  single  hole,  on  the  space  between  the  holes,  on  the 
last  layer. 

An  exceedingly  chaste  and  artistic  box  is  made  by  using  the  fine  photographs 
of  statuary,  and  framing  with  these  white  card-board  panels.  Or  they  make 
lovely  frames  for  fine,  small-sized  pictures. 

When  used  for  crosses,  frames,  bases,  etc.,  the  card-board  is  cut  out  in  scroll- 
form,  with  irregular  edges  and  figures  in  relief  are  formed  by  cutting  out  fret- 
work designs  in  different  sizes,  and  placing  them  upon  one  another,  the  smallest 
figure  beneath,  and  gradually  increasing  in  size. 

A  beautiful  box  is  formed  by  cutting  out  a  monogram  or  initial  in  this  way, 
cutting  the  bottom  piece,  full  size;  the  second  row  one  size  smaller,  the  third 
being  nearly  one  line  between  two  holes  or  small  figures  from  such  a  line. 

In  France  and  Germany  this  art  is  carried  to  great  perfection,  and  the  designs 
are  so  elaborate  and  complicated  that  they  require  a  teacher  to  impart  the  proper 
method  of  cutting  them  out  and  putting  together  in  forms  so  fine  and  patterns 
so  intricate,  that  they  appear  almost  as  if  some  professional  sculptor  had  chiseled 
them  from  purest  marble ;  while  the  fi-et-work  designs  are  like  gossamer  net- 
work of  finest  lace  :  of  such  a  character  is  the  design  illustrated  in  Fig.  1,  Cross 
in  card-board  work — an  object  of  superior  taste  and  skill. 


252 


HOUSEHOLD  ELEGANCIES. 


FRET-WOEK  IK  PERFORATED  CARD-BOARD. 

In  cutting  out  designs  in  fret-work,  care  must  be  used  not  to  draw  the  instru- 
ment, but  to  cut  directly  down,  with  a  clear,  firm  pressure  of  the  hand. 

Bear  in  mind  constantly  that  whenever  one  cut  meets  or  adjoins  another,  the 
piece  between  will  come  away  bodily,  and  if  this  is  not  desirable,  care  must  be 
used  to  prevent  it.    The  finest  card  is  best  adapted  to  this  work  —  No.  1  or  2. 

Crosses  are  lovely  cut  out  in  fret-work,  and  fastened  on  bright-colored 
ribbons. 

Beautiful  boxes  are  made  in  fret-work,  and  lined  with  gold  or  silver  paper,  or 
bright-colored  silk. 

HANDKERCHIEF-BOX  WITH    RAISED    DECORATION  OF 
PERFORATED  CARD-BOARD. 

Materials :  Medium-size  perforated  card-board,  colored  silk  or  velvet ;  a  paste- 
board box,  eight  and  four-fifths  inches  square,  four-fifths  of  an  inch  high,  with 
overlapping  cover ;  a  two-edged  knife,  a  board,  gum  or  glue  brush,  etc.  On  the 
foundation  or  first  layer,  the  scallops  are  six  squares  wide ;  the  three  following 
layers  remain  even  on  the  outer  side ;  on  the  inner  they  decrease  one  square  in 
each  row.  The  scallops  on  the  fourth  layer,  therefore,  are  only  three  squares 
wide ;  the  fifth  and  last  layers,  consisting  each  of  scallops  but  one  square  wide, 


Fig.  2.  Handkerchief-Box. 


are  pasted  over  the  middle  square  of  the  fourth  layer.  The  middle  star  is  com- 
posed of  three  separate  parts,  a  rosette  and  two  scalloped  borders,  each  seven 
layers  high ;  the  lower  two  increase  in  the  same  manner  as  the  upper  layers 
decrease ;  the  net-work  in  the  latter  falling  away  altogether.  Arrange  the  two 
scalloped  borders  at  a  distance  of  one  square  from  each  other  and  the  rosette ; 


HOUSEHOLD  ELEGANCIES. 


253 


they  are  each  a  repetition  of  the  margin  of  the  rosette,  only  more  extended  as 
the  distance  increases.  A  very  elfective  foundation  for  this  decoration  consists 
of  dark  red  silk ;  with  the  same  material  cover  the  box  inside  and  out.  Per- 
fumed batting  is  inserted  under  the  lining  of  the  bottom  and  cover.  The  pull- 
ing which  surrounds  the  sides  of  the  cover,  consists  of  a  piece  of  silk  two  and 
four-fifths  inches  wide ;  this  is  gathered  on  each  side  with  a  little  standing- 
heading  at  the  top,  and  drawn  together  at  equal  distances  of  two  and  four-fifths 
inches,  to  a  width  of  three-fifths  of  an  inch ;  this  is  decorated  by  a  border  cut 
of  perforated  card-board  according  to  Fig.  2,  and  sewed  on  with  red  silk. 
Bows  of  red  ribbon  adorn  each  corner  of  the  box. 

WALL-BASKET  OF  SILVER  PEEFORATED  CAED-BOARD. 

Take  besides  silver  perforated  card-board,  161  inches  of  blue  velvet  ribbon, 
one-fifth  of  an  inch  wide  ;  the  same  color  floss-silk,  white  card-board,  etc.  The 
frame  of  the  model  is  cut  out  of  card-board.  The  back  part  consists  of  a  straight 
piece,  fourteen  inches  long,  and  four  and  three-fifths  inches  wide ;  the  front 


Fig.  3.  Wall-Basket. 

part  consists  of  six  equal  parts,  each  three  inches  wide,  pointed  at  the  ends  in 
such  a  manner,  that,  measuring  seven  and  three-fifths  inches  in  length  in  the 
middle,  they  measure  four  and  four-fifths  inches  in  length  at  the  sides.  The 
bottom  cut  of  the  requisite  length,  is  four  and  two-fifths  inches  wide,  and  in  the 
shape  of  a  six-sided  half  oval,  the  straight  side  attached  to  the  back  part.  The 
six  parts  of  the  front  are  covered  with  like  parts  of  perforated  card-board,  em- 


254 


HOUSEHOLD  ELEGANCIES. 


broidered  with  stars  of  blue  floss-silk ;  all  the  sides  to  be  connected  are  bound 
with  white  tape,  and  sewed  together  with  overhand  stitches.  The  border  which 
edges  the  front  parts,  is  cut  out  of  three  ribs  of  the  perforated  card-board,  run 
through  with  blue  velvet  ribbon.  For  the  upper  and  lower  edges  of  the  com- 
bined front  part,  cut  scallops  out  of  the  perforated  card-board,  five  ribs  in  width, 
run  through  with  velvet  ribbon  on  the  inner  edge,  and  on  the  outer  cut  into 
little  stars.  Two  rings,  fastened  to  the  back  part,  as  indicated  in  the  illustra- 
tion, serve  to  hang  the  basket  up.  All  the  borders  are  pasted  on  with  gum- 
arabic. 

LAMP-SCREEN. 

Fig.  4  is  a  lamp-screen  made  of  silver  jardiniere  canvas,  green  satin 
ribbon,  and  gi'een  paper.  The  six  parts  of  the  screen  are  cut  of  striped 
silver  jardiniere  canvas ;  each  part  is  eight  inches  high,  six  inches  wide 
at  the  bottom,  and  two  inches  wide  at  the  top;  the  parts  are  lined  with 
light  green  paper,  and  bound  with  green  satin  ribbon.  Cut  a  thick  strip  of 
the  canvas  through  the  middle,  leave  the  adjoining  row  of  holes,  and  paste  this 
strip  at  the  edge  of  the  ribbon  on  the  inner  side  of  the  parts.    Scallops  gained 


Fig.  4.  Lamp-Screen. 


by  cutting  the  canvas  through  the  holes,  finish  off  the  screen  at  the  bottom. 
They  are  pasted  on  beneath  the  ribbon  binding.  Connect  the  parts  with  over- 
hand stitches ;  trim  with  ribbon  bows,  and  the  pretty  lamp-screen  that  has  cost 
such  slight  trouble  is  completed. 

DUSTER-POCKET. 

Fig.  5  is  a  duster-pocket  made  of  silver  jardiniere  canvas,  chenille, 
satin  ribbon,  one    and    one-fifth    inches  wide;    silk  lining,   red  sewing- 


HOUSEHOLD  ELEGANCIES. 


255 


silk,  silver  beads,  strong  card-board.  The  back  part  of  the  card-board  frame, 
which  is  covered  on  each  side  with  red-silk  lining,  consists  of  a  triangle  curved 
at  the  bottom  and  at  the  sides ;  sixteen  inches  wide  at  the  bottom,  fourteen 
inches  high  in  the  middle,  and  twelve  inches  high  at  the  sides.  A  piece  of 
card-board,  corresponding  in  width  with  the  back  part,  six  inches  high  in  the 
middle  four-fifths  of  an  inch  high  at  the  sides,  constitutes  the  front  part  of  the 


Fig.  5.  Duster-Pocket. 


pocket.  The  silver  jardiniere  canvas  is  decorated  with  sprigs,  consisting  each 
of  three  chenille-stitches  and  a  bead,  worked  in  transposed  rows,  at  a  distance, 
of  three  holes  from  each  other.  In  the  back  part,  the  canvas  remains  plain  in 
the  middle  for  a  distance  of  about  two  inches  from  the  lower  edge.  The  two 
parts  are  connected  by  means  of  overhand  stitches.  A  ruching  of  red  satin 
ribbon  and  bows  of  the  same,  decorate  our  model,  and  a  loop  of  ribbon,  attached 
to  the  back  part,  serves  to  hang  it  up  by.  ^ 


256 


HOUSEHOLD  ELEGANCIES. 


PORTFOLIO. 

Fig.  6  is  a  portfolio  for  papers,  pictures,  etc.  Materials :  Fine  jardiniere  can- 
vas in  two  colors,  colored  floss-silk  and  the  same  color  silk  ribbon,  four-fifths 
of  an  inch  wide,  white  card-board,  thick  gum. 

Two  pieces  of  card-board,  each  seven  and  four-fifths  inches  wide,  and  ten  and 
ons-fifth  inches  long,  bound  with  green  silk  ribbon,  and  connected  on  one  long 


Fig,  6.  Portfolio. 


side  by  means  of  overhand  stitches,  form  the  two  covers  of  the  portfolio.  They 
are  covered  on  the  outside  with  yellowish  jardiniere  canvas,  decorated  with  black 
jardiniere  canvas  and  green  silk  stitches.  The  center-piece  is  worked  to  corre- 
spond. When  the  embroidery  on  the  jardiniere  canvas  has  been  completed  it  is 
pasted  on  the  card-board  covers  so  as  partly  to  cover  the  binding.  Green  rib- 
bons serve  to  close  the  portfolio. 

CAED-BOARD  MOTTOES  AND  CASE. 

Our  chapter  on  Ornamental  Perforated  Card-Board  Work  M^ould  not  be  com- 
plete without  some  word  in  regard  to  the  beautiful  new  motto-cards  which  are 
now  so  popular. 

These  consist  of  various  mottoes,  quotations  and  texts  from  Scripture,  some  of 
them  already  finished  up  in  most  lovely  colors  and  embroidery ;  in  others  the 
beautiful  lettering  in  fancy  letters  are  shaded  so  as  to  show  how  the  silk  or 
wool  is  to  be  used.  These  vary  in  price  from  twenty-five  cents  to  ten  dollars, 
according  to  the  elegance  of  the  design. 

AVe  desire  here  to  speak  most  particularly  of  the  texts,  a  set  of  which  may  be 
procured  for  a  weekly    Guide  for  the  Day,"  with  texts,  such  as  : — 

Sunday.    "  Remember  the  Sabbath  day  to  keep  it  holy." 


HOUSEHOLD  ELEGANCIES. 


257 


Monday.    "Be  diligent  in  well-doing." 

Tuesday.    "  Whatever  thy  hand  findeth  to  do,  do  it  with  thy  might. 
Wednesday.    "  I  will  lift  up  mine  eyes  mito  the  hills,  from  whence  cometh 
my  help." 

Thursday.    "Press  forward  to  the  mark  of  your  high  calling." 
Friday.    "  The  fruits  of  the  Spirit  are  love,  joy,  peace,  long-suffering,  gentle- 
ness, goodness,  faith,  meekness,  charity." 

Saturday.    "Charity  suffereth  long  and  is  kind." 

TEXT-CASE  IK  GKECIAN  PATTERN. 

For  this  handsome  case  use  gold  or  silver  perforated  card  of  length  and  width 
of  text,  and  one-half  inch  wider  all  round.  For  the  front-piece,  cut  the  card- 
board the  size  a,  b,  c,  d,  and  two  narrow  strips,  one  and  one-half  inches  wide ; 
the  height  of  the  sides  from  c  to  a.    Bind  these  four  pieces  of  card  with  narrow 


Fig.  7. 


ribbon  of  some  pretty  color.  Then  cut  out  a  portion  of  the  square  piece  of  card, 
as  shown,  and  bind  with  the  ribbon.  Sew  on  to  it  the  narrow  piece  a  b,  a  c,  and 
b  d,  and  the  other  side  to  the  sides  of  the  back  piece,  to  form  a  shallow  case. 

Xext  take  narrow  chenille  and  with  floss- silk  embroider  a  pattern  on  the  cen- 
ter of  back  and  around  the  edge  of  the  front,  finish  with  cords  and  tassels,  for 
17 


258 


HOUSEHOLD  ELEGANCIES. 


suspension,  and  bows  on  the  corners,  lining  with  bright-colored  paper  or  glazed 
muslin.  If  preferred,  whits  card  may  be  used  and  cut  out  in  fret-work,  and  em- 
bossed, as  described  for  other  articles. 

The  texts  are  then  prepared  and  placed  within  the  case,  the  proper  one  for  the 
day,  showing  within  the  opening  cut  outworn  the  front. 

A  GLASS  CAKD-BASKET.  ^ 

Procure  six  pieces  of  ground  glass,  four  inches  wide  at  bottom  and  six  at  top, 
and  a  piece  for  the  bottom,  cut  hexagonal,  each  side  four  inches  wide.  Glue 
narrow  ribbon  firmly  around  each  edge,  and  fasten  them  together.  Ornament 
each  panel  with  a  tasteful  Dccalconianie  or  embossed  picture,  and  place  a  large 
one  upon  the  bottom.  Fasten  bows  of  ribbon  on  each  seam,  at  the  top,  and 
glue  six  ornamental  gilded  feet  on  the  bottom. 

Colored  glass  forms  beautiful  baskets,  using  the  colored  glass  upon  the  out- 
side with  lining  ground  glass  or  gold  paper ;  fastening  engravings  between 
the  face  towards  the  colored  glass.  The  effect  of  the  engraving  through  the 
colored  glass,  especially  amber-colored,  is  extremely  fine. 

CASE  FOR  VISITING-CAEDS. 

Two  pieces  of  perforated  card-board  are  cut  of  a  size  to  suit  the  visiting  cards 
the  case  is  to  hold,  and  decorated  in  a  manner  the  illustration  clearly  indicates 


Fig.  8. 


with  silk  stitches  and  small  Venetian  shells.  The  silk  lining  and  straps  are  of 
a  color  to  correspond  with  the  outer  decoration. 

FAITCY  USE  FOE  COCOANUTS. 

A  lover  of  fancy  things  can  manage  to  get  a  great  deal  more  out  of  a  cocoa- 
nut  than  its  milk  and  its  crisp  meat.  A  lady  friend  who  has  made  several  beau- 
tiful ornaments  out  of  rough  material,  says,  "When  I  bring  one  home  it  is  hailed 
by  the  children  as  a  token  of  coming  cakes  and  other  '  goodies.'    They  behold 


HOUSEHOLD  ELEGANCIES. 


259 


in  that  nut  the  ultimate  cause  of  enjoyment.  The  surprise  is  always  new.  They 
will  handle  it  as  tenderly  as  old  Isaac  Walton  told  us  to  handle  the  frog,  '  as  if 
we  loved  it.'  They  will  weigh  it  in  their  hands,  and  judge  whether  it  be 
heavier  or  lighter  than  the  one  they  had  two  wpeks  ago.  They  will  look  at  the 
peculiar  ridges,  lines  and  configuration  of  the  shell  and  its  general  shape,  with  a 
view  to  its  prospective  usefulness. 

They  will  smell  it,  and  say,  '  I  can  smell  the  West  Indies.'  No  doubt,  under 
its  influence,  those  palm  trees,  monkeys  and  negroes,  who  figure  in  their  illus- 
trated geography,  enlarge  in  their  inner  consciousness  into  life  and  motion,  and 
enables  them  to  imagine  more  clearly  the  monkey-like  face,  which  the  three 
spots  at  the  base  always  seem  to  form,  and  wonderful  again,  how  this  monkey 
looks  different  from  the  one  on  the  last  nut.    The  milk  inside  with  its  peculiar 

'  swishy-swashy '  noise  when  shaken, 
never  ceases  to  be  a  matter  of  mystery 
to  them,  and  when  I  explain  that  the 
meat  is  formed  from  the  milk,  like 
cheese  from  cow-milk,  and  the  whole 
nut  is  from  sap,  and  the  sap  is — well, 
mostly  water  absorbed  from  the  roots, 
they  must  be  satisfied,  as  greater  phi- 
losophers must  be,  who,  after  all,  can 
only  analyze  matter  and  trace  its  mo- 
tion. Next,  then,  the  milk  must  be  ex- 
tracted, which  shall  add  to  tlie  flavor  of 
the  cakes,  in  the  doing  of  which,  the 
two  eyes  of  the  '  monkey  '  must  be  op- 
erated upon  with  a  gimlet ;  this  gives 
me  another  opportunity  of  illustrating 
to  them  a  well-known  principle  in  hy- 
draulics, namely,  that  the  pressure  of 
the  atmosphere  prevents  the  liquid  fi'om 
flowing  out  if  only  one  hole  be  open. 
And  now  the  nut  is  handed  to  the 
eldest  boy,  who  examines  it  with  many 
an  important  side-glance  before  sawing 
it  open ;  remembering  the  old  (?)  proverb,  '  The  harder  the  nut,  the  finer  the 
saw,'  he  divides  it  with  his  little  hand-saw  into  two  unequal  parts ;  after  dig- 
ging out  the  meat  carefully,  the  empty  shell  is  ready  to  be  mounted,  and  used 
as  a  flower  pot  or  basket  or  bracket.  No  wood  harmonizes  so  beautifully  with 
the  unpolished  cocoanut  as  black  walnut,  nor  does  anything  look  half  so  appro- 
priate for  the  additional  embellishment  of  the  articles  made,  as  acorns,  burs, 
small  cones,  etc. 


Fig.  9.   Cocoanut  Flower-Pot  Bracket. 


260 


HOUSEHOLD  ELEGANCIES. 


Brackets,  Figs.  0  and  10,  are  of  half-inch  board,  eighteen  inches  long ;  size  of 
board,  of  course,  to  be  varied  according  to  size  of  nut. 

By  making  a  straight  line  through  the  board,  and  using  a  compass,  our  eldest 
boy  succeeded  in  copying  them  correctly  from  a  rough  sketch  by  papa.  He  also 
cut  it  out,  using  a  hand-saw,  chisel,  rasp  and  two  gouges.    Of  course  they  might 


Fig.  10.   Cocoanut-Bracket.  Fig.  11.  Hanging-Basket, 


be  cut  out  in  a  tenth  of  the  time,  with  a  jig  or  fret  saw :  yet  there  are  a  host 
of  moral  virtues  developed  by  overcoming  difficulties  with  insufficient  means ; 
and  for  this  reason,  I  encourage  him  to  persevere  in  doing  good  work  with  poor 
tools. 

The  hanging-basket  is  another  thing  T  get  out  of  the  cocoanut.  The  most  im- 
portant part  is  the  fastening  of  the  shells  to  the  supports  and  backs.  Figs.  9  and 
10  must  have  two  holes  and  joined  with  wire  to  the  back,  and  one  hole  at  bot- 
tom joined  with  screw  to  support.  The  three  nuts  for  the  basket  must  also  all 
be  joined  together  with  wire,  and  screwed  to  the  base.    For  fastening  the  cones, 


HOUSEHOLD  ELEGANCIES. 


261 


acorns,  etc.,  I  use  chasers'  cement,  and  find  it  more  durable  than  any  thing  else 
of  the  kind.  Those  living  away  from  oar  large  cities  can  easily  make  it  for 
themselves,  and  here  is  the  receipt :  Take  rosin  or  pitch,  half  a  pound ;  let  it  melt 
gradually  in  an  iron  pot.  Do  not  let  the  flame  of  the  fire  come  near  it.  Put  in 
gently,  a  little  at  a  time,  yellow  ochre,  Spanish  brown,  or  finely-pulverized  brick- 
dust,  until,  if  stirred  with  a  stick,  it  is  of  the  consistency  of  thick  molasses. 
N'ow  add  a  piece  of  wax,  size  of  a  large  hazel-nut,  and  piece  of  tallow  the  size 
of  a  pea;  let  them  melt,  stirring  continually;  takeoff  the  stove,  and  stir  till 
nearly  cool ;  then  take  out  and  shape  it  hito  bars  or  sticks,  on  a  stone  or  flat  plate 
of  iron ;  use  like  that  sealing-wax,  and  freely.  A  coat  of  varnish  over  the  whole, 
when  finished,  will  improve  it.  The  most  appropriate  plants  to  place  in  the 
shells,  are  maurandia-vine,  German  ivy,  linaria,  musk-plant,  lysimachium, 
Coliseum  ivy  being  both  light  and  graceful." 

LAMP-SHADES. 

Another  elegant  ornament  for  the  parlor,  made  with  fret-work  card-board,  is  a 
lamp-shade.  For  this  five  pieces  of  card  are  cut,  with  the  sides  sloped  in  from 
the  bottom,  being  about  one-third  narrower  at  the  top ;  from  the  center  of  each 
panel  cut  out  an  ornamental  oval,  and  around  the  edge  form  scallops  or  points, 
and  round  off  the  corners  at  the  top,  forming  each  panel  into  an  arch.  Around 
this  cutout  circular  holes  with  the  punch,  and  with  the  pointed  knife  form  small 
designs  upon  the  lower  corners.  Behind  these  openings  place  glass  cards  or  il- 
luminated pictures  of  any  kind,  or  better  still,  introduce  some  of  those  ex- 
quisitely beautiful  designs  which  come  in  Diaphanie.  The  latter  may  be  pro- 
cured in  various  sizes,  and  if  large  ones  are  preferred,  the  card-board  should  be 
cut  out,  so  that  merely  a  frame-work  around  the  picture.  The  panels  may  be 
put  together  with  strips  of  nmslin  glued  or  pasted  on  the  edges,  and  covered 
with  gilt  paper  or  by  tying  ribbons  through  holes  in  the  top,  bottom  and  center. 

Still  another  lovely  shade  is  made  by  marking  out  upon  white  card,  various 
designs  of  flowers,  crosses,  anchors,  etc.,  with  leaves  and  other  accompaniments, 
and  then  cutting  into  the  broad  lights,  with  a  sharp  knife.  Five  panels  thus 
cut,  with  an  edge  pinked  out  and  a  border  of  small-pointed  leaves,  slashed  in 
the  same  way,  will,  when  lined  with  several  thicknesses  of  rose-colored  tissue- 
paper,  and  placed  over  a  lamp,  appear  like  the  most  lovely  carved-work.  Where 
groups  of  figures,  such  as  are  sold  in  photographs,  are  used,  the  effect  is  made 
still  more  artistic,  as  the  appearance  will  be  similar  to  finely-sculptured  figures 
or  groups. 

Still  another  lovely  shade  is  made  by  drawing  the  design  lightly  upon  the 
white  panels,  and  pricking  around  all  the  outlines  with  Nos.  6  and  9  needles, 
using  the  large  one  for  the  deep  lights.  This  shade  requires  no  lining,  and 
must  be  fastened  together  with  bright  ribbons.  Besides  these  modes  of  forming 
panels  for  lamp-shades,  they  may  be  painted  according  to  any  of  the  methods 


262 


HOUSEHOLD  ELEGAI^CIES. 


described  in  tlie  chapters  on  Transparencies,  and  Ornamental  Glass,  Avhere  this 
work  is  also  further  explained. 

LAMP-SCREEN  FOE,  MANTEL  OR  BRACKET. 

These  screens  are  intended  to  place  before  a  low  lamp,  in  a  room  where  a  sub- 
dued light  is  desired,  and  are  formed  with  panels  of  glass,  which  are  cut  fourteen 
inches  high,  and  six  or  eight  wide ;  the  upper  corners  rounded  off,  forming  a 
Gothic  point  upon  each  panel.  These  are  then  ornamented  in  any  one  of  various 
v/ays. 

The  most  effective  is  the  Diaphanie  work  ;  these  transparencies  being  of  the 
most  exquisite  character,  the  colors  gorgeously  rich  and  brilliant,  and^tho 
designs  as  perfect  as  the  finest  specimens  of  stained  glass. 

The  particular  designs  for  this  work  may  be  of  the  mediaeval  style,  or  consist 
of  flowers,  groups  or  scenes  of  modern  times.  Art-dealers  furnish  any  kind 
specified,  and  of  various  sizes,  from  large  sections  of  life-size  figures,  etc.,  sixteen 
and  one-half  by  twenty  inches,  to  liliputian  affairs  of  a  few  inches  in  length, 
'which  are  sold  in  sheets  containing  two  or  three  dozen  ;  besides  these  there  are 
borders  and  ground-work  of  many  kinds,  which,  when  fastened  upon  these 
shades  or  screens,  or  upon  the  panels  of  hall-lamps,  render  the  effect  dazzlingly 
beautiful;  but  we  merely  mention  this  incidentally  here,  as  in  the  section  on 
Diaphanie  and  Vitremanie,  we  give  full  directions  for  the  work,  and  also  men- 
tion numerous  designs  with  borders,  corners,  grounding,  etc.,  specially  adapted 
to  this  and  other  objects  to  which  this  truly  beautiful  and  valuable  art  may  be 
applied.  But  we  feel  so  anxious  to  have  all  those  interested  in  beautiful  work  to 
make  a  trial  of  this  charming  work,  that  we  introduce  it  in  appropriate  places  in 
order  to  evince  our  admiration  of  it. 

Another  mode  of  ornamenting  these  lamp-screens  is  by  obtaining  the  gro- 
tesque figures  from  old-fashioned  chintz  ;  the  Chinese  and  Japanese  designs  ap- 
pearing the  best ;  or  rich  flowers,  and  scroll-work  appear  well.  If  the  chintz  is 
the  oiled-glazed  kind,  all  the  better ;  if  not  they  may  be  soaked  in  oil  and  dried 
out  between  the  folds  of  old  soft  newspapers,  under  a  heavy  weight.  These  are  ar- 
ranged upon  the  shade,  with  size  made  of  boiled  flour  paste  in  dissolved  glue ; 
when  dry,  Swiss  muslin  is  pasted  over,  using  for  this  purpose  clear  gum-arabic 
or  gelatine  mucilage ;  a  binding  of  black  galloon  is  then  pasted  or  glued  over  the 
edges  of  each  panel,  using  great  care  to  fasten  every  part.  AVlien  perfectly  dry, 
sew  the  edges  of  each  two,  or  fasten  with  strips  of  black  muslin,  glued  upon  the 
inside.  When  a  light  is  placed  behind  this  screen,  it  will  be  found  to  x^roduce  a 
fine  effect,  the  figures  appearing  like  those  of  a  transparency  upon  a  ground- 
glass  foundation.  The  shade  or  screen  folds  in  and  out,  in  a  half  circular  form 
upon  the  mantel. 


HOUSEHOLD  ELEGANCIES. 


263 


LAMP-SHADE. 


Where  lamp-globes  are  not  particularly  ornamental,  or  have  blemishes  of  any 
description,  it  is  desir- 
able to  cover  them,  and 
for  this  puj-pose  orna- 
mental  covers  are 
very  tasteful  and  ap- 
propriate. 

The  one  given  in  the 
design  is  formed  of 
black  or  whits  net — 
plain  stiff  bob i net 
being  the  best  kind ; 

the  edges  are  cut  by  Fig.  13.  Lamp-Sliade. 

the  pattern,  Fig.  12,  which  is  half  the  size ;  then  cover 
the  edges  with  button-hole  stitching,  using  yellow  silk 
upon  black  net;  pink,  scarlet  or  blue  upon  white.  Cut 
five  pieces  of  net  to  fit  the  lower  half  of  the  pieces, 
making  them  one  inch  deep  at  the  top,  and  gradually 
increasing  to  two  inches  at  the  point ;  cut  this  into 
Fig.  12.  points,  as  shown  in  the  engraving.  Fig.  13,  working  a 

figure  in  the  colored  silk  used  along  the  edge,  using  three  or  four  shades. 
Ornament  the  entire  cover  with  the  embossed  gold  stars,  sold  in  packages  or 
sheets  at  the  fancy  stores.  Fasten  the  pieces  to  a  covered  ring  at  the  top,  and 
connect  each  piece  at  the  sides  with  a  few  stitches.  This  forms  a  light  and  ele- 
gant cover.  Crape  will  be  found  a  beautiful  material  for  such  a  cover,  also  silk 
illusion  lined  with  bright-colored  silk.  Tissue-paper,  cut  into  five  such  pieces, 
folded  down  the  center,  and  twice  more,  cut  out  into  diamonds,  by  cutting  a 
diamond-shaped  piece  out  from  the  fold  or  crease  ;  then  shaking  out  the  pieces 
and  tacking  lightly  together,  is  also  a  light  and  lovely  cover. 


FRET-WORK  AND  DIAPHANIE  LAMP-SHADE. 

This  shade  may  be  formed  of  either  colored  wood  or  heavy  pasteboard ;  if  the 
first  is  used,  the  illuminated  parts  must  be  of  glass,  upon  which  the  Diaphanie- 
work  must  be«iastened,  as  directed  in  article  on  Diaphanie ;  or  if  card-boord  is 
used,  the  Diaphanie  pictures  may  be  fastened  with  glue,  directly  in  the  frame- 
work of  card.  Cut  the  six  panels  according  to  the  pattern  ;  varnish  with  shellac 
and  afterward  with  Copal ;  then  introduce  the  illuminations,  which  may  be  of 
any  character  desired.  We  have  given  a  conventional  arabesque  design,  but 
scenes  or  flowers  are  quite  as  effective ;  indeed,  if  six  different  scenes  are  intro- 
duced, the  effect  is  extremely  beautiful.    After  thus  finishing  all  the  panels, 


264 


HOUSEHOLD  ELEGANCIES. 


pierce  holes  in  the  top,  bottom  and  center  of  each  side,  and  fasten  together  the 
six  panels  with  wire,  tying  bows  of  ribbon  in  each  one,  thus  hiding  the  wire- 
hinge.  This  may  be  used  as  a  folding-screen  for  mantel  or  bracket,  or  as  a 
shade ;  in  which  case,  a  wire-frame  will  be  required  to  support  it. 


Fig.  14.  Lamp-Shade. 

If  wooden  panels  are  used,  they  should  be  of  one-eighth-inch  "  stufE ;  "  and  in 
using  pasteboard,  the  feet  should  be  strengthened  with  a  second  piece  cut  out 
from  the  pattern  and  glued  behind  them. 

SCEEEK 

An  elegant  folding-screen  is  made  by  cutting  out  six  panels,  of  the  dimen- 
sions before  mentioned,  of  heavy  card-board,  using  a  fret-work  design.  This  is 
done,  as  before  described,  with  a  sharp-pointed  knife ;  the  card  resting  upon  a 
smooth  wooden  foundation.  After  cutting  out  the  central  section,  proceed  to  fill 
up  the  openings  thus  :  In  three  of  them,  every  other  one,  fit  three  colored  pic- 
tures, containing  buildings ;  one  may  be  a  church,  another  a  dwelling,  and  the 
third,  if  possible,  a  street  with  a  row  of  houses  ;  oil  these  as  before  directed  for 
the  chintz,  and  when  dry,  cut  out  the  windows,  street-lamps,  openings  in  a  tower, 
if  there  is  one,  or  perhaps  the  lantern  of  a  light-house  ;  cut,  also,  in  one  of  them, 
a  moon,  and  place  behind  these  pieces  of  glass  cards  of  various  colors,  especially 
red,  putting  pale  yellow  behind  the  moon ;  behind  the  openings  in  the  surround- 
ing card-board,  place  rose-colored  tissue-paper.  Upon  the  other  three  panels, 
arrange  a  border  of  tiny  autumn  leaves,  that  have  been  properly  pressed  and  pre- 


HOUSEHOLD  ELEGANCIES. 


265 


served,  as  described  in  Chapter  II. ;  with  fine  tracery  of  ferns  and  grasses,  and  in 
the  center,  oblong  designs,  wreaths  or  ckisters  of  larger  leaves  and  fine  foliage 
mingled  with  a  few  flowers,  such  as  pansies,  buttercups,  or  any  plant  that  retains 
its  color  when  pressed ;  over  this  place  pieces  of  thin  Swiss  muslin,  cut  to  shape, 

touching  the  edges  with  mucilage, 
and  fastening  firmly  to  the  glass ; 
which  might  better  be  done  pi-ior 
to  binding  with  galloon.  Fasten 
the  panels  together  with  stitches  or 
hinge  of  muslin  as  before  men- 
tioned. 

The  transparencies  in  imitation 
of  statuary,  will  be  found  exceed- 
ingly artistic.  The  groups  found 
in  photographs,  of  coj)ies  from  some 
of  the  celebrated  pieces  of  statuary, 
being  the  best  for  this  purpose.  In 
the  section  on  Transparencies  for 
hall,  vestibule  and  library  windows, 
this  method  of  painting  is  fully  ex- 
plained. In  applying  it  to  lamp-shades  or  "  screens,"  the  same  course  is  pursued, 
and  the  panels  are  bound  with  black  galloon,  silk,  or  muslin,  after  the  black 
paint  of  the  ground-work  has  dried.  An  appropriate  finish  for  the  edges  is 
heavily-embossed  gold  paper,  painted  with  liquid  bronzing. 

We  have  spoken  of  these  screens  being  placed  upon  a  mantel  or  bracket,  and 
arranged  so  as  to  fold,  as  in  Fig.  15,  but,  if  desired,  a  stand  may  be  made  of  wood 
carved  or  ornamented  more  or  less  elaborately,  of  a  hexagonal  or  square  form, 
according  to  the  form  of  the  screen,  with  a  groove  cut  for  the  admission  of  the 
glass  ;  and  upon  this  the  glass  panels  are  arranged. 

The  ornamentation  described  for  the  folding-screens,  is  equally  applicable  to 
these  upon  a  stand.  The  glass  may  be  cut  in  Gothic  form  or  straight,  and  the 
designs  given  show  each  kind.  Some  persons  grind  the  ground  of  the  glass  sur- 
rounding the  ornamentation ;  but  the  Swiss  muslin  put  on  with  dissolved  gela- 
tine or  gum-arabic,  will  produce  the  same  elfect;  and  if  embroidered  in  figures 
corresponding  with  the  form  of  the  screen,  the  elfect  will  be  the  same  as  figured 
ground-glass.    Figured  lace  or  tarlatan  answer  equally  well. 

A  PEDESTAL  LAMP-SHADE. 

Take  a  circular  block  of  wood,  six  inches  in  diameter  and  one  inch  deep, 
upon  which  screw  a  circular  tin  box,  an  inch  and  a  quarter  deep,  and  four  inches 
in  diameter ;  in  this  hold  a  circular  rod,  two  and  one-half  feet  long  and  half  an 


Fig.  15. 


266 


HOUSEHOLD  ELEGANCIES. 


Fig.  16. 

The  edge  of  the  tin  box  may  be  cut 
namental. 


inch  thick,  of  iron  or  wood,  and  jDour 
around  it  sufficient  plaster  of  Paris  to 
fill  the  box,  holding  the  rod  in  position 
until  the  plaster,  which  should  be  p,s 
thick  as  syrup,  is  perfectly  hard.  Then 
with  wire  or  "  skirt-springs,"  proceed  to 
arrange  the  ornamental  work  shown  at 
A  A  A  at  base.    See  Fig.  16. 

A  transparency  is  the  n  made  by 
lightly  drawing  out  a  design  upon  a 
sheet  of  card-board  ;  the  "  high  lights  " 
or  prominent  lines  of  which,  arc  slashed 
with  a  sharp  knife ;  the  delicate  tracery 
pricked  through  with  a  number  eight 
sewing-needle,  then  lining  with  blue 
tissue-paper.  This  transparency,  which 
will  appear  like  sculptured  marble,  or 
the  fine  porcelain  that  is  so  popular  in 
shades,  must  be  neatly  framed  and  fas- 
tened to  the  rod ;  as  at  B  B  in  Fig.  16. 

Wire,  or  the  springs  before  mentioned, 
arc  then  arranged  in  ornamental  scrolls 
around  the  frame,  as  at  C  C,  with 
fine  flexible  wire  and  putty.  The  entire 
frame-work  is  then  painted  with  liquid 
bronzing ;  and  when  dry,  the  bottom  and 
box  containing  the  rod,  are  ornamented 
with  flowers  in  Decalcomanie. 
out  in  scallops,  and  thus  made  more  or- 


TEAInTSPAEEOT  SHADES  FOR  WINDOWS. 

Where  taste  and  artistic  skill,  combined  with  neatness  in  execution  are  brought 
into  requisition  in  designing  and  executing  the  painting  on  these  shades,  they 
may  be  made  as  beautiful  a  covering  for  a  window  as  can  well  be  conceived. 

In  Italy,  Spain,  and  parts  of  France,  these  shades  are  beautifully  made,  and 
used  in  the  houses  of  the  most  wealthy  persons. 

The  best  material  for  these  shades  is  what  is  sold  at  the  art-stores  by  the 
name  of  "  architects'  tracing-paper  but  if  this  cannot  be  procured,  muslin  of  a 
medium  quality,  or  rather  thin,  may  be  used,  and  painted  with  a  transparent 
wash,  composed  of  wax. 


HOUSEHOLD  ELEGANCIES. 


267 


Having  the  cloth  prepared,  it  should  be  stretched  in  a  wooden  frame,  sewing 
the  four  sides  to  a  piece  of  webbing  tacked  on  the  inner  edge  of  the  frame.  The 
nsxt  step  is  to  draw  out  the  design,  which  may  be  either  a  landscape,  flowers  or  a 
group  of  figures,  which  is  copied  first  from  an  engraving  or  other  picture,  and 
pricked  through  with  a  needle  around  the  outer  edge  and  through  the  outlines 
of  the  prominent  parts  of  the  picture.  This  is  laid  in  position  upon  the  shade 
and  then  dusted  with  colored  powder,  tied  in  a  thin  cloth,  when  it  will  leave  the 
design  outlined  upon  the  muslin.  Then  touch  around  lightly  with  a  pencil  or 
the  transparent  colors.  Then  placing  the  frame  between  yourself  and  the 
window,  you  are  ready  to  commence  the  coloring ;  as  by  thus  placing  the  frame 
the  proper  effects  of  the  coloring  can  be  watched,  but  in  some  instances,  where 
fine  lines  are  introduced,  the  frame  might  better  be  placed  on  its  back,  on  a  table 
with  a  sheet  of  white  paper  beneath  it,  while  they  are  drawn.  A  good  vehicle 
for  this  kind  of  work  is  gold-size,  which  will  dry  perfectly,  and  will  not  be 
liable,  like  varnish,  to  stick  when  the  shade  is  rolled  up,  and  the  light  amber 
hue  of  the  size  does  not  affect  the  beauty  and  purity  of  the  color.  Transparent 
colors  are  used  entirely  for  this  work. 

For  reds,  use  various  shades  made  of  carmine  and  crimson-lake  ;  for  yellow, 
Italian  yellow  and  gamboge  ;  for  green,  verdigris ;  for  blues,  Prussian  blue, 
cobalt,  ultramarine,  and  indigo ;  for  browns,  raw  and  burnt  sienna ;  for  gray, 
lamp-black,  with  a  large  proportion  of  size ;  a  mixture  of  red  and  yellow  will 
give  a  fine  orange ;  red  and  blue,  purple  and  a  range  of  warm  greens  may  be 
made  by  adding  yellow  to  verdigris,  or  to  any  of  the  blues  we  have  mentioned. 
Black,  more  or  less  weakened  with  size,  will  be  found  usefid  in  shading  many 
colors.  These  colors  must  ba  first  rubbed  up  with  turpentine,  prior  to  adding 
the  size.  These  transparencies  will  also  answer  well  for  signs  to  be  read  at 
night  or  for  lanterns. 

Where  a  person  has  any  difficulty  in  drawing  off  the  design  for  the  picture,  it 
is  a  good  plan  to  obtain  a  good  engraving,  and  after  varnishing  the  transpar- 
ency, and  while  it  is  still  a  very  little  sticky,  to  apply  the  engraving,  having 
made  it  damp,  to  the  muslin ;  j^ress  every  part  of  it  gently,  by  patting,  until 
every  part  is  attached  to  the  varnish  on  the  muslin.  Then  commence,  with  a 
damp  finger,  to  remove  the  paper  from  the  engraving,  by  rubbing  it  carefully  off 
with  a  rubbing  motion ;  rolling  off  the  white  paper,  as  it  were.  When  the  whole 
has  been  gone  over,  let  it  dry ;  then  if  white  places  still  appear,  go  over  it  all 
again,  until  all  the  white  is  removed,  and  the  mere  cuticle  of  the  engraving  is 
left  upon  the  varnish.  The  greatest  care  is  requisite  in  removing  the  last  layer 
of  paper  lest  you  should  rub  through  into  the  engraving,  which  would  entirely 
ruin  it.  After  this  the  transparent  colors  may  be  applied  to  the  engraving,  the 
shades  of  which  will  answer  for  those  of  the  colored  picture.  This  method  of 
painting  will  be  found '  extremely  satisfactory,  and  the  softness  and  mellow 
tints  of  color  are  most  lovely. 


268 


HOUSEHOLD  ELEGANCIES. 


LAMP-SCKEEK 


This  is  serviceable  in  a  sick-room,  and  very  convenient  to  shade  the  crib  of  a 

sleeping  baby.  The  standard  con- 
sists of  one  piece  of  rattan  twenty- 
two  inches  long,  another  nine 
inches  long,  which  is  fastened  in 
a  horizontal  position  on  the  long 
rattan  at  a  distance  of  four  inches 
from  the  top  ;  one  small  ribbon 
spool  to  form  a  foot  for  the  long 
rattan,  and  several  small  pieces  of 
rattan  to  form  the  ornamental 
base.  These  may  be  tacked  to- 
gether  and  bound  with  wire. 
Finish  the  top  and  ends  as  in 
Fig.  17,  before  varnishing  or  paint- 
ing black.  A  piece  of  silk  canvas 
eight  inches  wide  and  ten  long, 
makes  the  shade.  Embroider  the 
center  with  some  appropriate  pat- 
tern ;  cut  the  bottom  in  three 
scallops,  the  center  one  larger. 
Work  white-silk  stars  all  around 
at  a  suitable  distance  from  the 
edge ;  these  are  almost  as  easily 
worked  as  small  crosses,  which 
here  would  be  absolutely  out  of 
place,  while  the  stars  are  emblem- 
atic  of  the  nightly  use  of  the 
lamp-screen.  Line  with  blue 
silk.  Trim  around  the  scallops 
with  fringe  same  shade  as  lining. 
Sew  blue  and  white  chenille 
around  the  sides  and  over  the 
heading  of  the  fringe,  which  it 
must  match  in  color.  Tie  the 
canvas  to  the  standard  with  blue 
and  white-chenille  cord ;  sew  blue 
tassels  at  the  end  of  the  cord. 


Fig.  17.  Larap-Screen. 


This  chenille-cord  you  can  make,  yourself,  by  twisting  blue  chenille  around 
white-silk  cord. 


HOUSEHOLD  ELEGANCIES. 


269 


DISSOLVING  VIEWS  FOR  LAMP-SHADE. 

With  India  ink  sketch  a  landscape,  painting  the  foliage,  grass,  etc.,  with 
muriate  of  cobalt ;  and  all  the  blue  parts  with  shades  of  acetate ;  yellow  with 
muriate  of  copper,  more  or  less  strong.  When  dry  these  will  not  be  visible,  the 
mere  sketch  in  India  ink  being  discernable ;  but  as  soon  as  the  gentle  action  of 
the  lamp-flame  heats  the  card-board,  the  colors  will  appear  in  lovely  shades,  and 
continue  visible  so  long  as  it  is  kept  warm.  The  shade  should  be  made  in  five 
sections,  a  different  scene  in  landscape  top  and  bottom,  cut  out  in  large  scallops, 
by  rounding  off  the  corners,  and  pink  out  the  edges.  Finish  by  tying  the  pieces 
together  with  tasteful  bows  of  bright-colored  ribbons.  If  the  India-ink  designs 
are  neatly  painted,  the  shade  will  be  a  pretty  one,  even  when  the  lamp  is  not 
lighted. 

MIEEOR-PHOTOGEAPHS. 

The  exquisite  photographs  taken  upon  mirror  plates,  which  have  recently 
been  imported  from  France,  are  so  costly  as  to  be  within  the  reach  of  only  the 
most  wealthy  class.  But  we  are  happy  to  be  able  to  assure  all  those  lovers  of 
beautiful  and  artistic  objects,  whose  purses  are  so  short,  that  they  do  not  feel 
they  can  indulge  their  fine  tastes,  that  so  far  as  these  "  photo-mijTors  "  are  con- 
cerned, they  may  form  an  imitation  so  perfect,  that  none  but  the  most  accurate 
observer  could  possibly  distinguish  them  from  the  genuine  article. 

The  class  of  pictures  best  suited  to  this  style  of  picture  is  something  ex- 
tremely artistic.  Copies  of  the  Madonnas — statuary,  copies  from  the  paintings 
of  the  old  masters — the  exquisite  pair,  "  Night  and  jMorning,"  the  Seasons, 
etc.,  though  photographs  of  friends,  and  fancy  pieces  of  various  kinds,  appear 
very  well.  Indeed  some  heads  of  pretty  children  that  we  have  seen  were  charm- 
ing. Having  selected  the  photographs,  if  they  are  mounted,  place  them  in  a 
basin  of  water  until  the  card  softens,  and  the  photograph  may  be  slipped  off ; 
when  dry  it  in  a  soft  napkin,  and  place  under  a  press  between  the  leaves  of  a 
book  for  several  hours. 

Procure  a  plate  of  fine  mirror — good  American  will  answer, — those  of  circular 
form  are  most  effective,  and  a  frame  in  which  it  will  fit ;  then  prepare  some  fine 
parchment  or  gelatine  size,  and  carefully  removing  all  the  margin  from  the  pho- 
tograph, paint  the  face  of  it  with  the  size;  and  placing  it  directly  on  the 
mirror  in  proper  position — not  moving  in  the  least  after  placing — press  carefully 
and  gently  to  the  mirror,  patting  out  all  superfluous  moisture,  and  wiping  it 
carefully  off  from  the  glass.  Then  frame  with  a  clear  glass  placed  over  the 
mirror.  This  will  not  cost,  for  a  photograph  six  by  eight  inches,  more  than  five 
dollars.  A  genuine  one  would  be  valued  at  about  seventy-five  dollars.  Ths 
piece  of  mirror  for  a  photograph  of  size  named,  should  be  not  less  than  eight- 
een inches  in  diameter. 


270 


HOUSEHOLD  ELEGANCIES. 


WASTE-PAPER  BASKET. 

The  accompanying  figure  is  a  very  ornamental  basket,  the  frame-work  of 
which  is  made  of  four  heavy  pieces  of  wire,  three  feet  long,  bent  into  form  as 
shown,  and  fastened  round  a  circular  piece  of  wood,  fourteen  inches  in  diame- 
ter, with  a  hoop  at  the  top,  sixteen  inches  in  diameter,  fastened  with  wire  to 

these  upright  pieces  which  project 
above  it  four  inches ;  from  the  bot- 
tom to  this  hoop  are  fastened  sixteen 
pieces  of  wire,  twenty  inches  long, 
inserted  into  holes  in  the  circular 
wooden  bottom,  and  with  wire  fast- 
ened to  the  hoop.  In  and  out  be- 
tween these  are  woven  hoop-skirt 
springs,  with  beads  sewed  upon  the 
cover,  which  is  first  covered  with 
scarlet  or  other  colored  braid. 

A  heavy  piece  of  bead-embroidery, 
with  fringe  of  same  is  fastened  be- 
tween the  rows  of  basket-work 
around  the  center,  and  beneath  it  the 
basket  strips  need  not  be  worked 
with  beads,  but  merely  covered  with 
braid.  Rings  or  wire,  covered  with 
beads,  are  fastened  on  each  side,  and 
a  large  bead  is  glued  upon  the  top  of 
Fig.  18.  Waste-Paper  Basket.  each  upright  wire ;   or  ball-headed 

pins  may  be  fastened  to  the  wires,  and~  covered  with  the  beads.  This  basket  is 
very  elegant,  and  would  adorn  even  a  handsomely-furnished  room. 

TEXTS,  MOTTOES,  MONOGRAMS,  ETC.,  IK  SILVER  LETTERS. 

Obtain  a  piece  of  clear  glass,  the  size  desired — ordinary  window-glass  of  good 
quality  will  answer — make  it  perfectly  clean  and  polish  thoroughly.  Then  cut 
strip  of  tin-foil  sufficiently  long  and  wide  for  the  lines  of  the  text  or  other  letters, 
and  with  a  piece  of  ivory  or  other  burnisher,  rub  them  lengthwise  until  per- 
fectly smooth ;  next  moisten  one  side  of  these  strips  with  thin  mucilage,  and 
place  them  pasted  side  down,  on  the  glass,  where  the  letters  are  to  go ;  rubbing 
flat  and  smooth  with  the  burnisher,  first  patting  with  a  soft  cloth.  The  better 
they  are  burnished  the  more  brilliant  will  the  work  appear.  Now  mark  the 
width  of  the  different  letters  on  the  foil,  and  cut  off  evenly  with  a  sharp  knife. 

Next  having  patterns  cut  of  ornamental  or  plain  letters,  as  preferred,  lay  them 
on  the  foil,  and  cutting  out  each  one  with  the  knife,  remove  all  superfluous  foil 


HOUSEHOLD  ELEGANCIES. 


271 


cut  off,  and  make  the  edges  perfectly  even ;  then  rub  the  edges  carefully  down  to 
prevent  the  paint  from  running  under.  Next  cut  out  strips  about  one  inch,  or 
more,  wide,  for  a  border,  and  arrange  in  the  same  manner,  using  a  vine  of  ivy 
or  other  leaves;  or,  any  fancy  scroll  border,  cutting  it  out  as  the  letters. 
Then  witli  a  fine  camel's-hair  brush,  proceed  to  paint  between  the  letter.-?,  etc., 
very  carefully,  with  asphaltum-varnish,  made  by  dissolving  asphaltum  in  just 
sufficient  alcohol  to  cut  it ;  cover  all  the  ground-work  with  this,  using  two  or 
more  coats.  When  dry,  turn  upon  the  other  side,  where  the  text  will  appear  in 
brilliant  silver  letters. 

TAMAEIND-SEED  ORNAMENTATION. 

The  custom  of  forming  ornamental  articles  of  the  seed  of  the  wild  West  In- 
dian fruit,  the  tamarind,  is  quite  old,  but  still  so  beautiful  are  the  ornaments 
formed  of  these  curious  stone-like  seeds,  that  we  can  not  pass  the  subject  by  with- 
out a  brief  description. 

The  wild  tamarind  seed  is  rather  large,  and  about  the  size  of  an  apple  seed ; 
but  there  is  another  species  which  we  have  seen  that  contains  a  seed  as  large  as 
a  pear,  and  of  a  curious  shape,  rather  like  a  rounded  triangle ;  they  are  both  as 
hard  as  flint,  and  capable  of  a  high  polish.  The  two  combined  form  beautiful 
ornaments. 

The  only  means  of  softening  these  stones  is  by  immersing  them  for  eight  or 
ten  hours  in  air-slaked  lime,  wiping  them  immediately  wdth  a  soft  rag  wet  in 
sweet  oil.  The  holes  should  then  be  immediately  pierced  in  them  in  desired 
places. 

Baskets,  bracelets,  brooches,  earrings,  necklaces,  crosses,  etc.,  are  formed  of 
them,  in  combination  with  gilt  or  steel  beads,  passing  pliable  wire  through  the 
holes  and  forming  them  into  desired  shapes. 

Strung  upon  thread  they  may  be  made  into  chains  for  ornamenting  pieces  of 
wood-carving,  wall-pockets,  etc.,  and  are  extremely  elegant  when  thus  applied. 

Upon  frames  of  walnut  the  seed  of  the  smaller  size  form  beautiful  beading, 
and  for  this  purpose  they  are  also  useful  on  the  edges  of  shelves,  around  the 
panels  of  drawers,  and  about  the  carved  work  of  tables,  or  cabinets,  for  as  soon 
as  they  become  dry,  the  seeds  return  to  their  pristine  "  rockiness  "  of  texture,  and 
are  as  durable  as  w-ood. 

Baskets  made  of  these  seeds  and  lined  with  crimson  silk  or  satin  are  exceed- 
ingly ornamental  and  elegant.  A  circle  for  top  and  bottom,  formed  of  wire,  and 
pieces  of  even  length  crossed  diagonally  from  these,  and  interlaced  so  that  they 
form  diamond-shaped  openings,  are  covered  with  ribbon,  and  upon  them  the 
strung  seeds  are  fastened,  with  a  fringe  of  them  hung  lengthwise  around  the  top. 
This  frame-work  is  then  lined  with  scarlet  or  blue  silk ;  handles  formed  for  the 
sides,  or  across  the  top,  and  a  bottom  made  of  the  largest  seed,  with  bows  of 
ribbon  or  bunches  of  tassels,  in  appropriate  places,  as  a  finish.  Hanging-baskets 


272 


HOUSEHOLD  ELEGANCIES. 


for  plants,  with  bowls  placed  in  them,  are  both  durable  and  handsome  thus 
made,  with  chains  of  the  seed  strung  lengthwise. 

Seeds  of  cucumbers,  melons,  and  various  beans,  are  capable  of  being  made  into 
beautiful  ornaments,  when  applied  in  the  same  manner  as  these  tamarind  seeds. 
We  have  seen  an  exquisite  wall-pocket -bracket,  and  picture-frame  formed  of 
"  white-wood,"  and  ornamented  with  the  seed  from  muskmelon  and  large  win- 
ter squash.  After  cleansing  perfectly,  they  were  assorted  into  four  or  five  sizes ; 
then  strung  upon  fine,  pliable  wire  as  thin  as  horse-hair.  These  were  then  ar- 
ranged into  figures  by  coiling  the  wire  around  the  smaller  seed  at  the  centei-, 
and  gradually  growing  larger  until  of  suitable  size  ;  those  for  the  four-inch-wide 
frame  being  three  inches  in  diameter  for  the  largest  flower,  and  diminishing  in 
size  toward  the  sides  of  the  oval.  They  were  sewed  upon  small  circles  of  card- 
board, painted  buff,  and  completely  covered  it ;  a  tack  in  the  center,  with  glue 
upon  the  under  side,  fastened  each  rosette  to  the  frame,  etc.  Chains  of  strung 
seed,  with  steel  beads  Joining  each  link,  were  hung  in  graceful  festoons  from 
different  points,  and  a  beading  formed  of  seed  placed  one  upon  another.  The 
set  adorned  a  little  recess  in  a  light,  blue- furnished  sitting-room,  and  presented, 
altogether,  such  a  charming  effect  that  these  light,  tasteful  ornaments  were  the 
admiration  of  every  one. 

Light-colored  ornamentation  is  capable  of  being  made  so  beautiful,  and  we  so 
seldom  see  it  employed  in  frames,  brackets,  etc.,  that  we  feel  inclined  to  almost 
urge  it  upon  our  readers  to  try  the  effect  of  this  style  of  fancy  work. 


^^mw  W"'  is  fifteen  and  one-fifth  inches,  and  its 

Fi^l9.  Newspaper-Holder.  width  ~ ten  and  four-fifths  inches.  The 


HOUSEHOLD  ELEGANCIES. 


273 


requisite  slits  through  which  the  embroidered  straps  that  hold  the  newspapers 
are  passed,  are  provided  at  the  top  and  bottom  of  the  frame.  Any  pretty  border 
worked  on  cloth  or  woolen  reps,  will  serve  for  the  straps. 

VASE  FOE  SCRAPS,  PAPERS,  ETC. 

This  is  made  in  the  same  manner  as  the  basket  just  described,  excepting  that 
instead  of  the  bead  embroidery  and  fringe,  four  strips  of  colored  merino  are 
worked  with  beads,  upon  plaits,  which  are  fastened  longitudinally  to  the  vase. 
At  top  and  bottom  are  heavy  cords  covered  with  the  merino,  and  wound  with 
b  'ads.  The  uprights,  as  will  be  seen,  are  bent  out  at  the  lower  part,  and  curved 
inward  at  the  top,  which  gives  a  very  graceful  form  to  the  vase.  The  braid- 
covered  basket-work  should  be  worked  with  rather  small  beads,  of  colors  to  cor- 
respond with  the  furniture,  carpets,  etc. 

KEY-RACK. 

Fig.  20  is  a  key-rack.  Cover  a  diamond-shaped  piece  of  wood,  each  side 
measuring  eight  inches,  with  brown  oil-cloth,  tacking  the  latter  on  the  wrong 
side  with  small  tacks,  and  furnish  with  hooks  for  hanging  the  keys  on.  The 


Fig.  20.  Key-Rack. 


decoration  is  cut  and  pasted  on  in  the  manner  the  illustration  clearly  shows.  It 
consists  of  yellowish  jardiniere  canvas.  Two  rings  at  the  back  of  the  board 
serve  to  hang  it  up. 

WALL-PROTECTOR. 
Fig.  21  is  a  wall-protector,  with  pockets,  to  hang  over  a  wash-stand.  This 
protector  is  very  serviceable  in  a  bed  or  bath  room.    It  is  made  of  brown  oil- 
18 


274 


HOUSEHOLD  ELEGANCIES. 


cloth,  and  provided  witli  pockets  for  comb,  brushes,  etc.,  finished  off  all  around 
by  a  ruching  or  braid  of  scarlet  worsted.  On  the  pattern  of  the  cover,  the 
place  for  the  pockets  and  the  arrangement  of  the  pocket-parts  for  the  combs, 
are  indicated.  For  the  latter,  three  parts,  graduating  in  size,  are  requisite; 
these, are  each  bound  at  the  top  with  braid,  and  then  all  three,  together  sewed  to 
the  protector,  but  in  such  a  manner  that  they  do  not  lie  flat,  but  a  little  hollow. 
The  top  part  of  the  brush-pocket  is  likewise  bound  with  black  braid,  a  deep 
plait  laid  at  the  bottom,  and  the  pocket  then  sewed  to  the  protector  according 
to  the  space  designated  for  it  in  the  pattern.    The  pockets  are  edged  with  a 


Fig.  21.  Wall-Protector. 


braiding  or  ruching  of  scarlet  braid  to  correspond  with  the  edging  on  the  pro- 
tector. Three  brass  rings  affixed  to  the  top  of  the  protector,  in  the  manner  the 
illustration  indicates,  serve  to  hang  it  up.  The  rack  in  the  center  of  the  pro- 
tector holds  a  basket  in  which  soap,  and  the  like,  may  be  placed.  Sponge,  towel, 
etc.,  may  also  be  hung  on  the  rack.  It  is  advisable  to  work  an  eyelet  in  the 
protector  for  the  nail,  that  holds  the  rack,  to  pass  through. 

WALL-PEOTECTOE.— FIG.  22. 

This  is  intended  to  hang  over  the  wash-stand.  Materials :  Black  oil-cloth, 
gray  percale,  gray  linen,  gray  and  white  tightly-twisted  cord,  in  various  thick- 


HOUSEHOLD  ELEGANCIES. 


275 


nesses,  black  twist  silk,  gray  thread,  and  sixteen  dozen  of  black  china  buttons. 
This  very  useful  protector,  to  be  hung  on  the  wall  by  means  of  three  loops  of 
cord  affixed  one  to  the  center  and  one  on  each  side,  is  made  of  oil-cloth,  twenty- 
three  inches  wide  and  thirty  inches  long,  cut  into  curves,  and  lined  with  gray 
percale.  A  bias  piece  of  linen,  two-fifths  of  an  inch  wide,  binds  it  around  the 
edge,  and  is  decorated  with  black  china  buttons ;  the  binding  is  edged  by  two 


Fig,  22.  Wall-Protector. 


rows  of  cord,  one  white,  one  gray,  placed  close  to  each  other,  and  confined  by 
overhand  stitches  of  thick  black  silk.  The  arabesques  are  made  in  a  similar 
manner  of  cord,  and  connected  by  gray  linen  folds,  two-fifths  of  an  inch  wide, 
fiive  and  one-fifth  inches  long,  fastened  to  the  oil-cloth  by  means  of  black  buttons. 
The  surface  of  the  protector  is  decorated  by  two  pockets  for  the  reception  of 
brushes,  and  a  little  tin  shelf  surrounded  by  lambrequin  of  oil-cloth,  to  which, 
in  turn,  a  hook  is  attached,  on  which  to  hang  the  sponge,  or  wash-glove. 

STAND  FOR  VISITING-CARDS  OR  JEWEL-CASE. 

Fig.  23  is  made  of  cone-work,  and  painting  on  wood.  Materials  :  Pine  and  fir 
cones,  alder-catkins,  acorns,  blossoms  of  the  hazel-tree,  early  blossoms  of  the 
cherry-tree,  beech-nuts  and  their  hulls,  hair-moss,  etc.  Small  wooden  beads  pol- 
ished black,  brown,  lusterless  paper,  strong  card-board,  brown  thread,  strong 


276 


HOUSEHOLD  ELEGANCIES. 


wire,  gum,  Copal  varnish.  The  design  for  the  center-piece  is  to  be  drawn 
with  India  ink ;  and  the  design  for  the  margin  is  to  be  drawn  in  two  colors, 
black  and  scarlet,  of  India  ink  and  vermilion.  The  frame  of  our  model  is 
constructed  of  strong  card-board.  Three  strips  of  card-board,  each  ten  inches 
long,  one  and  one-fifth  inches  wide  at  the  ends,  and  sloping  a  little  narrower 
towards  the  middle,  are  held  together,  as  may  be  seen  in  the  illustration,  by 
a  ring  two-fifths  of  an  inch  wide,  and  having  a  diameter  of  three  and  one- 


Fig.  23.    stand  for  Visiting-Cards. 


fifth  inches.  Each  part  is  covered  on  one  side  with  brown  paper.  The  card- 
board, moistened  with  gum,  becomes  very  pliable,  and  may  be  bent  in  any 
shape.  Bent  outwards,  the  feet  which  stand  four  inches  high,  describe  a  trian- 
gle of  six  and  two-fifths  inches  at  the  bottom  ;  in  the  same  proportion,  the  upper 
ends  of  the  feet  are  curved  outwards,  as  clearly  shown.  The  pine-cone  scales 
after  being  soaked  in  soft  water,  admit  of  the  needle  being  passed  through  them, 
and  are  sewed  on  with  the  pointed  side  turned  outwards.  They  cover  the  feet, 
sewed  on  in  close  rows ;  the  spaces  where  the  ring  is  afterwards  fitted  in,  must 
be  left  empty.    One  row  of  scales  borders  the  margin  of  the  ring,  which  is  cov- 


HOUSEHOLD  ELEGANCIES. 


277 


ered  by  a  tasteful  arrangement  of  pretty  pine  cones,  acorns,  etc.  In  order  to 
cover  the  stitches,  brown  paper  is  everywhere  pasted  over  them,  and  the  upper 
ends  of  the  feet,  which  project  about  three-fifths  of  an  inch  over  the  vase,  are 
decorated  on  the  inside  with  several  rows  of  scales,  giving  them  a  sort  of  rosette- 
like finish.  The  chains  decorating  the  stand,  and  the  bunches  of  tassels  beneath 
the  rosettes,  are  made  of  alder-catkins  and  black  beads  strung  on  strong  thread. 
Brown  woolen  velours  or  black  velvet  serves  as  a' covering  for  the  lower  support 
of  the  stand ;  the  border  of  rosettes  should  be  worked  on  a  card-board  margin^ 
four-fifths  of  an  inch  wide,  and  covered  with  brown  paper.  The  rosettes  are 
made  of  pine  cones  of  as  even  a  size  as  possible,  choosing  the  lower  arched  parts 
on  which  the  little  stem  is  visible ;  each  of  the  rosettes  on  our  model  is  two 
inches  large ;  where  a  scale  is  wanting  to  complete  the  rounded  form,  insert  it 
carefully,  and  fasten  it  firmly.  A  coat  of  Copal  varnish  gives  the  whole  a  fresh 
appearance. 

CRYSTALLIZED  VASE  FOE  BONBONS  OE  JEWELEY. 

Fig.  24  is  a  specimen  of  alum-crystallization.  IVLlterials :  Strong  covered 
wire,  pink  zephyr-worsted,  alum,  three  shells,  pink  silk-ribbon.  The  effect  of 
this  work  is  exceedingly  pretty.  The  frame  is  constructed  of  wire,  and  ribbon 
wire  covered  with  pink  worsted,  the  latter  being  especially  adapted  to  bend  into 
the  coral  form.  The  middle  consists  of  three  pieces  of  wire,  each  twenty-one 
and  one-fifth  inches  long ;  pieces,  each  three  and  one-fifth  inches  long  are  used 
for  the  ornament  at  the  top,  and  the  larger  twist  for  the  foot  is  made  of  pieces 
each  seven  and  three-fifths  inches  long,  while  the  sides  of  the  triangle  on  which 
it  rests  measure  each  five  and  one-fifth  inches.  Now  cover  the  middle  pieces  at 
either  end  with  pink  worsted,  and  shape  the  coral  branches  out  of  ribbon  wire 
in  the  manner  the  illustration  plainly  indicates.  The  three  feet  are  fastened  to 
the  points  of  the  triangle,  which  is  made  of  double  wire,  and  also  covered  with 
pink  worsted.  The  three  holders  for  the  shells  are  made  of  three  pieces  of  wire, 
each  fourteen  inches  long,  closed  to  rings  having  three  and  three-fifths  inclies  in 
diameter,  closely  covered  with  pink  W'Orsted,  and  decorated  with  coral  branches 
of  ribbon  wdre;  they  are  attached  to  the  frame  a  little  higher  than  its  middle. 
Pieces  of  wire,  closely  covered  with  pink  worsted,  twine  around  the  frame  here 
and  there,  and  are  twisted  into  tendrils.  If  the  frame,  when  thus  far  completed, 
is  not  firm  enough,  drop  a  little  melted  lead  into  the  part  where  the  three 
middle  pieces  part  to  form  the  feet,  closely  covering  with  pink  worsted  when 
dry.  For  crystallizing  the  frame,  use  an  earthen  vessel,  in  which  the  frame  may 
be  entirely  covered  by  the  alum  solution.  For  the  latter,  take  one  pound  of 
alum  to  good  three  quarts  of  water ;  j^ut  it  on  the  fire,  allow  the  alum  to  dis- 
solve, and  filter  the  hot  solution  through  a  cloth,  in  order  that  it  might  become 
quite  clear,  into  the  earthen  vessel,  in  w^hich  then  place  the  frame.  Cover 
tightly,  that  it  may  not  cool  too  quickly,  and  let  it  stand  until  the  small 


278 


HOUSEHOLD  ELEGANCIES. 


Fig.  24,   Vase  for  Bonbons  and  Jewelry. 


HOUSEHOLD  ELEGANCIES. 


279 


crystals  have  attached  themselves  to  the  frame.  The  process  usually  lasts 
twenty-four  hours,  but  the  frame  must  be  stirred  in  the  solution  now  and  then, 
as  the  crystallization  does  not  proceed  evenly,  and  if  allowed  to  stand  too  long, 
the  crystals  will  become  large  and  heavy;  but  the  crystals  must  be  very  small 
and  even.  When  the  frame  is  taken  out,  great  care  must  be  taken  as  to  the 
drying,  subjecting  it  neither  to  the  heat  of  the  sun  nor  of  the  fire,  but  to  warm 
air  of  an  even  temperature,  so  that  the  crystals  may  remain  clear  and  trans- 
parent. The  shells  which  are  easily  procured,  must  be  provided  with  two  holes 
for  the  ribbon  to  be  passed  through ;  for  each  bow  the  ribbon  is  passed  tlirough 
two  shells  and  around  two  of  the  rings.  A  ])ow  decorates  the  top  of  the  crystal- 
lized frame,  for  M'hich  a  round  silver  or  cliina  plate,  with  a  decorated  margin, 
serves  as  a  tray. 

BUTTEEFLY  AS  PINCUSHION.— FIG.  25. 

Materials  :  Patches  of  silk  or  velvet,  in  two  shades ;  black,  and  three  colors 
harmonizing  with  the  velvet  or  silk,  of  fine  chenille ;  fine  dark  brown  trimming 
chenille,  gold-cord,  gold-thread,  etc.     Our  engraving  represents  the  cushion 


Fig.  25.    Butterfly  as  Pincushion. 


almost  full  size.  It  is  made  of  two  shades  of  brown  silk.  Tlie  upper  wings  of 
the  lighter  shade  are  decorated  with  black  and  gold  button-hole  stitches  at  the 
margin,  and  button-hole  stitched  to  the  lower  wings  of  the  darker  shade. 
The  center-piece  in  the  upper  wings  is  embroidered  of  blue  and  black  chenille, 
and  surrounded  by  gold-cord ;  the  radiating  stitches  are  worked  of  two  shades 
of  brown  chenille,  mixed  with  gold  thread;  the  dots  are  brown  and  black, 


280 


HOUSEHOLD  ELEGANCIES. 


some  with  white  silk,  and  some  with  silver-gray  silk  stitches  in  their  centers. 
The  scallops  on  the  lower  wings  are  made  of  black  chenille  and  gold  cord.  The 
button-hole  stitches  on  the  margin  are  black,  as  is  also  the  net-work.  Each 
pair  of  wings  is  lined  with  firm  mvislin,  and  stuffed  with  sand  and  bran.  The 
body  is  formed  of  batting,  and  wound  about  with  thick,  dark  brown  chenille 
and  gold-cord ;  two  black  beads  at  the  top  imitate  eyes,  and  two  pins  the  feelers. 
When  body  and  wings  have  been  fastened  together,  insert  black  pins  up  to  the 
heads  all  around ;  white  pins  form  a  wreath  of  rays  all  around ;  four  pins, 
affixed  to  the  back  of  the  butterfly  serve  for  feet. 

FLAG  AS  PE^>r-WIPEK. 
Materials  :  A  rod  of  brown  wood  or  a  piece  of  cane,  three  strips  of  cloth — one 
red,  one  black,  one  white — the  same  colors  of  twist-silk,  gold  cord,  gold  beads. 


Fiij.liG.    Flag  Pen-Wiper.  Fi^'         Banner  as  Needle-Book. 


The  flag,  which  is  fastened  to  a  rod  of  brown  wood,  consists  of  strips  of  cloth  one 
red,  one  white,  one  black,  each  four  inches  long,  one  and  one-tenth  inches  wide, 
pinked  out  at  the  inner  edges,  and  sewed  over  each  other  with  cross-stitches  of 
the  same  color  silk,  before  the  scallop  at  the  end  is  cut  in.  The  embroidery 
is  worked  of  the  three  colors  silk  on  each  strip,  diversified  with  gold  here  and 
there.  The  flag  is  connected  with  the  black  cloth  lining  by  means  of  gold  beads, 
and  the  two  layers  are  then  pinked  out  together  all  around.    A  pinked  strip  of 


HOUSEHOLD  ELEGANCIES. 


281 


cloth,  one  and  three-fifths  inches  wide,  box-plaited  and  attached  to  the  back  of 
the  flag,  serves  as  the  pen-wiper, 

A¥ORK-STAND.— FIG.  28. 
Materials  :  A  stand  carved  of  black  polished  wood,  yellowish  brown  jardiniere 
canvas,  dark  brown  chenille,  twenty-two  and  a  half  inches  of  brown  satin, 
seventy-two  inches  of  brown  satin-ribbon,  one  and  one-fif  tli  inches  wide.  The 
wooden  frame  of  our  model  consists  of  a  twisted  rod,  thirty-one  inches  high, 
which  rests  on  three  feet,  each  live  inches  high.    Three  pockets  in  the  shape  of 

cornucopias,  serve  for  the  recep- 
tion of  work  and  sewing  mate- 
rials, and  are  fastened  to  the 
upj)er  end  of  the  rod  by  a  brown 
ribbon  which  is  drawn  through 
each  of  the  pockets,  as  clearly 
shown  in  the  engraving.  The 
cornucopias  are  made  of  stout 
pasteboard,  covered  on  each  side 
with  brown  paper,  and  can  be  or- 
dered at  any  book-binder's.  Each 
one  consists  of  a  piece  of  paste- 
board, fourteen  inches  high ;  the 
upper  width  is  twenty-six  and  a 
half  inches  ;  the  edges  are  slanted 
downwards,  so  that  the  width  at 
the  bottom  shrinks  to  eight 
inches,  and  the  sloped  edges  have 
a  length  of  eighteen  inches  ;  these 
are  fitted  together  and  form  the 
back  of  the  cornucopia.  The 
long,  narrow  bottom  is  rounded 
at  the  front,  and  runs  into  a 
sharp  point  at  the  back.  The 
outer  covering  of  the  cornucopia 
consists  of  the  favorite  jardiniere 
canvas,  embroidered  at  the  upper 
and  lower  margin  with  a  border, 
and  through  the  middle  with 
sprigs  of  brown  chenille.  The 
figures  in  the  middle  are  oblique 
stitches ;  and  large  cross-stitches, 
worked  at  even  intervals,  and  oc- 


Woik-Staiul. 


282 


HOUSEHOLD  ELEGANCIES. 


cupying  each  a  space  of  nine  holes.  Each  pocket  is  decorated,  top  and  bottom, 
])y  a  niching  of  pinked  satin,  one  and  three-fifths  inches  wide,  and  cut  bias. 
The  stitches  in  the  middle  are  covered  by  a  strip  of  the  canvas.  Inside  of  the 
upper  part  of  the  pocket,  a  narrow  border  of  the  canvas  is  affixed.  At  the  upper 
edge  of  each  pocket — there  where  it  is  attached  to  the  stand — a  bow  of  brown 
satin  ribbon  forms  a  pretty  finish. 

BANNER  AS  NEEDLE-BOOK. 

Fig.  27  is  made  of  remnants  of  red,  black,  and  white  cloth,  and  of  white  flan- 
nel, black,  red,  brown,  blue  twist-silk,  gold  thread,  fine  black  and  white  mixed 
silk  cord,  gold  beads,  hook  and  tassel-holders  of  bronze,  card-board,  etc.  The 
cover  of  our  model  is  decorated  with  an  embroidered  eagle,  edged  with  black 
and  white  mixed  cord,  and  consist^^f  three  strips  of  cloth,  each  nine  and  one- 
fifth  inches  long,  of  which  the  white  middle  strip  is  one  and  three-fifths  inches 
wide,  and  the  side  strips,  one  red  and  one  black,  are  each  three-fifths  of  an  inch 
wide.  The  scallop  at  the  bottom  is  one  and  one-fifth  inches  deep.  The 
eagle  is  one  and  three-fifths  "inches  high,  embroidered  of  black  with  brown 
feet;  the  crown  is  red,  the  apple  blue,  and  the  whole  is  enlivened  with  stitches 
of  gold ;  the  eye  is  marked  by  a  white  bead ;  the  scepter  is  worked  only  of  .gold. 
Two  white-flannel  leaves,  edged  with  red  and  black  button-hole  stitches  are 
basted  into  the  cover,  the  completed  banner  having  previously  been  stretched 
over  a  piece  of  card-board.  To  each  point  of  the  cover  sew  a  piece  of  cord  four 
and  two-fifths  inches  long,  the  end  raveled  and  decorated  with  gold  beads  form- 
ing a  tassel ;  these  serve  to  close  the  book.  A  piece  of  cord  five  and  three-fifths 
inches  long,  with  a  hook  for  hanging  up,  is  attached  to  the  top  of  the  book,  and 
finished  off  on  each  side  with  black  and  white  tassels  having  bronze  holders  and 
depending  from  short  strings  of  gold  beads. 

BUTTON-WORK. 

Exceedingly  beautiful  articles  are  made  of  bright-colored  merino-cloth  or  flan- 
nel, ornamented  with  the  common,  white  porcelain  buttons ;  also  a  table  set  of 
ornamental  mats,  "  cozy,"  egg-bag,  etc.  The  mats  are  cut  to  suit  the  various  sizes 
of  dishes,  generally  consisting  of  a  set  of  six  or  eight.  Materials  :  A  set  of 
pasteboard  foundations,  cut  either  oval,  round,  or  square,  French  merino  or  fine 
flaimel,  and  buttons  of  various  sizes,  some  wide  braid,  and  muslin  for  lining. 
The  material  is  cut  to  fit  the  card-board,  as  also  the  muslin  lining  beneath,  and 
being  basted  upon  it,  the  edge  is  bound  round  with  braid.  A  straight  row  of 
medium-sized  buttons  are  then  sewed  upon  the  edge,  and  about  a  half  inch 
within  this,  a  row  of  small  ones ;  after  this,  the  design  is  formed,  which  may  be 
varied  to  suit  the  taste ;  for  a  Grecian  or  scroll  pattern,  the  smallest-sized  but- 
tons are  necessary,  but  the  larger  ones  may  be  clustered  in  groups  of  three  and 


HOUSEHOLD  ELEGANCIES. 


283 


then  two,  then  one,  forming  a  half  diamond,  or  an  entire  diamond  of  small  but- 
tons ;  or  perhaps  circles,  triplets  and  figures  with  two  and  three  sizes  of  buttons 
may  be  fancied.  We  give  a  few  designs  that  may,  perhaps,  afford  an  idea  of 
our  meaning. 

O0O0O0O© 

OO     oo    oo  CO 
OOO  OOO  OOO  GOO 

oo   oo   oo  oo 


Fig.  29. 

It  is  neater,  perhaps,  to  sew  the  buttons  upon  the  merino,  always  through  the 
card-board,  afterward  placing  the  lining  and  binding,  then  pasting  a  row  along 
the  edge  upon  the  binding;  thus  the  stitches  are  hidden.    Either  scarlet  or 


Fig.  30. 


white  cotton  or  silk  may  be  used  for  sewing  on  the  buttons,  the  former  imparting  a 
bright,  gay  appearance,  the  latter  a  pure  dead  look,  like  carved  ivory.  Upon  a 
white  table-cover  these  mats  present  a  beautiful  appearance,  and  are  extremely 
appropriate  for  the  scarlet  lunch  cloths. 

FIRE-SCEEEN. 

Fig.  30  is  made  of  embroidery  with  applications  of  cretonne.  The  pretty  and 
simple  frame  of  this  screen  may  be  either  gilt  or  polished  black,  and  has  for  its 
center  a  piece  of  embroidery  with  cretonne  applications.  The  cretonne  applica- 
tion is  gray ;  bears  on  its  surface  a  pretty  little  gerre  picture,  surrounded  by 
arabesques  of  gray  soutache,  knots  and  long  stitches  of  gold,  and  small  vines 
worked  in  herriug-bone  stitch  of  several  shades  of  brownish  green  twist^silk. 
Any  other  design  will  do  equally  well,  the  cretonne  applications  always  produc- 
ing an  excellent  effect. 


284 


HOUSEHOLD  ELEGANCIES. 


Fig.  31.  Fire-Screen. 


HOUSEHOLD  ELEGA^^CIES. 


285 


EASTER-EGGS. 

With  many  it  is  a  curious  fancy,  to  dress  Easter-egg-s  in  elegant  forms  and 
keep  as  toilet  elegancies,  and  we  introduce  several  designs  showing  how  this 
may  be  beautiful  carried  out,  and  result  in  charming  effects. 

This  china  egg  is  hollow  and  open  at  the  dull  end,  so  that  it  can  be  set  up 
on  end,  or  when  given  as  a  present,  filled  with  candy  or  some  valuable  article, 
while  it  may  be  closed  with  a  cork  decorated  with  ribbon  bows.  Such  eggs 
which  have  the  not  very  poetic  but  certainly  useful  mission  of  helping  in  the 
darning  of  stockings,  are  generally  white,  a  tempting  subject  for  painting,  to 
those  who  can  skillfully  wield  a  brush.  But  they  may  also  be  procured  colored, 
and  when  decorated  with  ribbon  bows,  make  a  pretty  and  welcome  Easter  gift. 


Fig.  3'2.    Easter-Egg  of  China.  Fig.  33.    Easter-Egg  with  ELciiing. 


BOILED  EASTEE-EGG,  WITH  ETCHING. 

A  very  pretty  Easter  gift  is  a  boiled  colored  egg,  on  which,  as  on  colored  porce- 
lain, the  most  various  designs,  monograms,  pictures  and  the  like,  may  be  etched 
with  a  fine  penknife.  As  hard-boiled  eggs  do  not  decompose,  this  forms  a  dura- 
ble mark  of  remembrance.  The  brown  color  on  our  model,  is  produced  by  boil- 
ing the  egg  in  water  filled  with  onion  peels. 

EASTER-EGG  AS  HANGING-BASKET  WITH  ELOWERS. 

Open  a  hen,  duck,  or  goose  egg  at  the  pointed  end ;  let  all  the  contents  run 
out,  and  cut  the  upper,  smaller  half  away  with  small  sharp  scissors ;  fill  it  al- 
most up  with  earth,  and  plant  a  sedum,  which,  despite  the  small  space,  thrives 
splendidly  and  spreads  out  its  little  twigs  on  every  side.  As  outer  decoration 
for  this  improviseH  flower-pot,  a  net-work  of  crochet  suspended  by  cord  made  of 
chain-stitches,  and  trimmed  with  tassels,  will  do  nicely.  In  the  model,  the  net 
is  crocheted  of  scarlet  silk ;  fringe  is  knotted  in  at  the  top,  and  a  string  drawn 
through  to  make  the  net  fit  firmly  to  the  egg.  Draw  the  net  together  at  the 
bottom,  and  finish  off  with  a  tassel. 


286 


HOUSEHOLD  ELEGANCIES. 


Fig.  34.   Easter-Egg  as  Hanging-Basket.  Fig.  oo.  Bonbonnieie. 


EASTEE-EGG  AS  BONBONNIEEE. 

This  sweet  little  toy  is  made  of  a  hona  Jide  egg,  cut  through  very  carefully  in 
the  middle  ;  the  edges  are  furnished  with  a  narrow  binding  of  soft-colored  paper, 
beneath  which,  for  the  sake  of  strength,  a  narrow  strip  of  card-board  is  pasted. 
A  strip  of  card-board,  one-fifth  of  an  inch  wide,  covered  with  the  same  colored 
paper,  is  pasted  within  one  of  the  halves,  partly  projecting,  and  serves  to  close 
the  two  parts,  as  plainly  seen  in  the  illustration.  The  rest  of  the  decoration 
consists  of  narrow  gold  braid  pasted  inside  and  out,  at  the  edges  of  the  paper 
binding.  A  skillful  hand  may  easily  execute  a  monogram,  or  wreath  of  flowers 
on  the  outside  of  the  egg.    Decalcomanie  may  also  very  suitably  be  employed. 

LAMP-MAT,  ETC.,  WITH  BYZANTINE  OENAMENTATION. 

As  most  ladies  have  pieces  of  black  silk  which  they  would  be  glad  to  utilize, 
we  will  describe  a  kind  of  work  by  which  they  may  be  enabled  to  form  beauti- 
ful articles  of  them,  with  the  aid  of  some  embroidery  or  saddler's  silk,  cord  of 
silk,  and  gold  or  silver.  The  ground  is  of  black  rep-silk,  and  the  ornamentation 
is  formed  by  applying  the  cord  and  silk  to  the  surface  by  means  of  stitching.  A 
pasteboard  foundation,  of  desired  size,  is  cut  and  covered  upon  the  under  part 
with  glazed  muslin ;  the  silk  is  cut  to  correspond  with  this,  but  is  not  fastened 
to  it  until  the  embroidery  is  finished.    The  silk  cord  and  embroidery  silk  are  of 


HOUSEHOLD  ELEGANCIES. 


287 


various  colors.  A  design  is  marked  upon  the  silk  by  means  of  a  paper  pattern 
pricked  with  holes,  and  tlien  dusted  with  powder,  as  described  for  other  work 
heretofore.  Then  a  light  crayon  is  taken  and  the  design  lightly  traced  upon 
the  silk,  and  the  powder  blown  olf.  The  light  parts  of  the  design  are  then  cov- 
ered with  gold-colored,  or  gold  cord  fastened  on  at  regular  intervals,  with 
stitches  of  silk  taken  across  the  cord.  The  intermediate  lines  are  of  crimson, 
blue,  and  green.  The  green  should  stand  between  rows  of  blue  and  crimson. 
The  medallions  are  formed  thus  :  The  one  in  the  center  has  the  inner  circle,  and 
every  alternate  one,  those  drawn  white  in  the  engraving,  are  of  gokl-colored  silk 
cord,  the  intermediate  ones  of  green,  which  stand  between  two  alternate  rows 
of  blue  and  crimson,  formed  in  little  knots  of  embroidery-silk,  shown  by  the 
white  dots.  The  circles  beyond  are  the  same.  The  medallions  on  the  edge  con- 
sist of  two  designs ;  the  one  formed  of  green  and  crimson  cord  passed  one  over 
the  other  in  a  double  cross,  which  is  held  in  place  by  stitches  of  white  silk  crossed 
over  the  point  of  intersection  in  each.  The  star  in  the  center  likewise  of  white 
silk.  The  other  medallion,  and  the  center,  in  gold-colored  cord,  enclosing  the 
cross  figure,  of  blue  and  crimson  silk. 

The  clusters  of  three  stitches,  forming  arrows,  scattered  over  the  pattern  are 
worked  in  long  single  stitches,  in  various  colors.  The  mat  is  edged  with  a  many- 
colored  fringe,  put  on  after  the  outside  and  card-board  are  bound  together.  The 
elegance  of  this  work  can  scarcely  be  conceived ;  it  is  one  of  the  richest  pieces 
of  work  that  can  be  found,  and  gives  an  imposing  appearance  to  an  otlierwise 
plain  ta])le  or  stand. 

EASTER-EGG  AS  HOUSEWIFE. 

Materials :  Tulle,  zephyr  worsted,  white  sewing-silk  and  crape,  colored  silk 
and  watered  ribbon  three-fifths  of  an  inch  wide,  narrow  blond  lace.  As  may  be 
seen  in  the  illustration,  our  model  is  provided  with  the  necessary  sewing-mate- 
rials for  embroidery.  The 
outer  decoration  consists  of 
tulle  drawn  through  with 
zephyr  worsted  and  sewing- 
silk,  beneath  which,  the  tulle 
is  alAiost  hidden,  leaving  a 
peculiar  sort  of  net-work. 
The  pattern  of  this  pretty  de- 
sign is  worked  of  worsted  and 
cross-stitches  of  white  sewing- 
silk.  We  would  here  men- 
tion that  this  work  is  very 
Fig^TG.  Housewife.""  Suitable  for  children's  hats. 

For  each  of  the  two  oval  halves  of  the  necessaire,  work  a  piece  of  tulle  seven  and 


288 


HOUSEHOLD  ELEGANCIES. 


one-fifth  inches  long,  and  five  and  one-fifth  inches  wide ;  round  it  at  the  cor- 
ners ;  line  it  with  blue  or  pink  silk,  and  baste  it  to  a  piece  of  card-board.  The 
outer  rim  is  then  marked  at  even  distances,  into  twelve  parts ;  between  these 
cut  out  points  one-fifth  of  an  inch  wide,  one  and  one-fifth  inches  deep.  Bind 
the  incisions  with  silk  ribbon ;  by  drawing  them  together  the  arched  form  is 
produced ;  tack  in  the  silk  lining ;  wire  it  on  the  edge,  and  finish  off  with  a 
binding  of  ribbon.    Ornamental  stitches  of  colored  silk  decorate  the  outer  side ; 


Fig.  37.    Stand  of  Easter-Eggs  and  Paper-Flowers. 


the  inner  margin  is  finished  off  by  a  narrow  blond  lace.  The  piece  that  covers 
the  rims  is  to  be  fastened  to  one  of  the  perfectly  equal  parts,  and  consists  of  a 
strip  of  card-board  two-fifths  of  an  inch  wide ;  it  is  covered  on  the  inside  with 
silk,  on  the  outside  with  white  crape  taken  four-fold ;  it  is  edged  on  either  side 
with  button-hole  stitches,  and  decorated  along  the  center  with  herring-bone 
stitches.  Two  pretty  bows,  one  within  and  one  without,  conceal  the  spot  where 
the  parts  are  connected,  and  ribbon  serves  to  tie  the  halves  together. 

CORAL-MAT. 

One  ounce  bright  scarlet  zephyr.  Those  who  are  acquainted  with  crocheting 
can  form  the  most  beautiful  mats,  which  appear  like  circles  of  twisted  coral 
sprays  around  the  center  of  the  mat.  They  are  formed  thus  :  The  center  con- 
sists of  a  circle  of  ten  "  chain-stitches ;  "  then  round  the  edge  of  this  twenty-five 


HOUSEHOLD  ELEGANCIES. 


289 


"  long  stitches  "  are  crocheted ;  that  is,  the  zephyr  is  passed  round  the  needle  or 
hook  once,  and  between  each  of  these  long  stitches  is  made  one  chain-stitch ; 
this  forms  the  first  row  of  the  central  part.  Second  row  is  the  same  stitch,  but 
every  third  stitch  is  double ;  that  is,  two  long  stitches  in  one  space,  this  double 
stitch  being  added  to  enlarge  the  circle.  Third  row,  same  stitch,  but  the  thread 
is  passed  round  the  needle  twice,  and  every  other  stitch  is  double.  Fourth  row 
commences  the  full  border  thus  :  in  each  space  are  three  stitches,  and  the  thread 
is  passed  round  the  needle  three  times,  making  a  very  long  stitch.  Fifth  row  is 
simply  a  chain,  ten  "  chain-stitches  "  in  each  space,  forming  a  scalloped  border. 
The  full  curled  appearance  given  to  the  border  by  the  fullness  is  the  peculiar 
beauty  of  this  lovely  mat. 

THE  PANSY-MAT. 

This  pretty  mat  is  made  of  single  zephyr,  white,  black,  yellow,  and  tw^o  or 
three  shades  of  purple.  A  mat  of  circular  form  is  first  crocheted  of  black  or 
white  zephyr,  about  an  inch  deeper  all  around  than  the  vase  it  is  to  hold ;  this 
is  done  in  common  crochet-stitch.  Then  take  black  zephyr  and  crochet  one 
round,  adding  two  stitches  in  each  division  of  the  preceding  row ;  this  forms 
the  first  row  of  the  border.  Second,  crochet  one  row  of  yellow,  increasing  two 
in  every  stitch  in  the  same  manner ;  then,  with  the  darkest  purple,  form  the 
third,  increasing  in  the  same  manner,  and  finish  by  binding  off  with  the  two 
other  shades,  using  each  one  upon  half  the  edge,  thus  forming  two  colors  when 
finished.  This  done,  take  the  rufile  thus  formed  and  folding  it  into  plaits  rep- 
resenting the  pansies,  tack  each  fold  in  place  with  a  stitch  of  thread,  and  a 
beautiful  mat  is  formed,  which  is  a  very  good  imitation  of  a  row  of  pansies. 

TABLE-MATS.— OKNAMENTAL  MAT  FOR  EITHEE  WHITE 
OR  SCARLET  CLOTH. 

Obtain  a  quantity  of  the  white  porcslain-buttons,  used  for  underclothes,  and 
which,  if  a  number  of  mats  are  desired,  might  better  be  purchased  by  the  gross, 
and  of  several  sizes.  Cut  from  thin  card-board  the  various  sizes  required,  and 
of  oval  and  round  shapes,  according  to  the  article  it  is  to  hold ;  cover  with  scar- 
let merin(^  or  flannel,  and  about  a  fourth  of  an  inch  from  the  edge  sew  a  plain 
row  of  the  largest  buttons,  using  scarlet  embroidery-cotton  or  white  thread ;  the 
former  giving  a  bright  and  pretty  effect,  the  latter  giving  a  pure,  dead  look  which 
reminds  one  of  a  border  of  carved  ivory  upon  the  scarlet  foundation.  AVithin 
this  border,  form  an  ornamental  border,  perhaps  of  diamonds,  using  a  medium- 
sized  button,  and  commencing  with  one,  then  two,  then  three,  then  four,  then 
receding  until  one  finishes  one  diamond,  forming  three  or  more  on  one  side, 
and  continuing  around  the  remaining  three.  The  figures  upon  the  opposite  will 
suggest  a  few  patterns,  which  may  be  changed  and  improved  by  a  tasteful  per- 
son. In  a  complicated  pattern,  like  the  Grecian,  the  tiny  little  shirt-buttons 
19 


290 


HOUSEHOLD  ELEGANCIES. 


look  best,  and  a  pattern  with  four  and  five  sizes  introduced,  using  the  minute 
buttons  (No.  1)  as  centers  to  figures  made  of  larger  sizes.  When  a  suitable 
border  is  made,  the  under  side  is  lined  with  white  or  colored  muslin. 

These  mats  look  very  elegant  upon  a  pure  white  cloth,  and  also  correspond 
with,  and  enhance  the  beauty  of,  the  scarlet  and'  white  Turkish  cloths.  If  de- 
sired, the  center  of  the  mat  may  be  covered  with  table  oil-cloth,  using  a  scarlet- 
merino  border,  and  covering  the  joined  part  with  a  row  of  small  buttons,  sewing 
them  closely  together.  Around  the  edge  a  row  of  the  porcelain-buttons,  with 
"  eyes,"  form  a  pretty  finish.  These  are  exceedingly  beautiful  mats,  and  both 
inexpensive  and  durable. 

Another  style  of  mat  is  made,  which  is  somewhat  similar  to  the  previous,  and 
may,  perhaps,  be  considered  more  durable.  The  materials  consist  of  table  oil- 
cloth— the  enameled  kind— i-muslin  for  lining,  card-board,  and  a  quantity  of  col- 
ored porcelain  buttons  ;  various  shades  of  brown  may  be  arranged  in  figures 
and  the  effect  is  really  beautiful.  The  black  buttons  used  for  shoes  form  a 
pretty  edge,  and  the  colored  enameled  cloth,  showing  beneath  and  between  the 
buttons,  is  exceedingly  pretty. 

As  these  mats  are  easily  cleansed,  they  are  very  appropriate  for  ordinary  use, 
and  large  ones  placed  beneath  children's  plates,  or  upon  side-tables  for  water- 
pitcher,  trays,  etc. 

THE  OAK  OR  VINE  LEAF  MAT. 

Cut  a  pattern  from  a  good-shaped  oak-leaf,  from  which  cut  a  sufficient  num- 
ber from  green  and  brown  cloth  to  reach  around  the  mat-foundation,  which  is 
to  be  made  of  pasteboard  covered  with  silk  or  merino.  With  yellow  beads  form 
midrib  and  veins  on  the  green  leaves,  mixing  steel  among  them,  and  for  the 
brown  use  gold  and  jet  beads ;  work  the  edges  in  button-hole  stitch,  adding  a 
bead  to  each  stitch ;  a  slender  wire  may  be  worked  in  if  the  cloth  is  not  suffi- 
ciently stiff.  Arrange  them  around  the  mat,  folding  one  a  little  over  the  other, 
first  a  green,  then  a  brown.  Arrange  a  few  acorns  upon  wire-stems,  which  place 
carelessly  among  the  leaves,  and  add  a  few  tendrils  made  of  zephyr  rolled  round 
a  knitting-needle.  These  acorns  may  be  gilded,  and  thus  made  very  rich  and  ele- 
gant. If  vine-leaves  are  used,  grapes  may  be  formed  of  purple  velvet  over  mar- 
bles. Other  colored  leaves,  representing  autumn  tints,  may  be  substituted  and 
form  elegant  mats. 

DAISY-MATS. 

These  mats  are  formed  on  frames  of  any  size  or  shape ;  that  is,  square,  oval,  or 
round ;  of  four  strips  of  wood  morticed  together  at  the  corners,  and  an  inch  and 
a  half  wide.  Upon  the  upper  side,  1  we  pointed  stiff  wire  inserted,  like  pins, 
one  inch  apart,  an.d  one  and  a  half  inches  high.    These  mats,  we  would  here 


HOUSEHOLD  ELEGANCIES. 


291 


observe,  are  called  daisy-mats,  on  account  of  the  button-like  appearance  of  the 
wool,  but  they  might  better  be  called  "  tufted  "  mats,  as  this  is  the  true  appear- 
ance of  the  work. 

There  is  no  particular  color  necessary  for  this  work,  any  two  pretty  contrasting 
colors  producing  a  fine  effect. 

The  most  appropriate  material  is  zephyr,  though  we  have  made  beautiful 
wash-stand  mats  of  coarse  "  tidy  or  crochet  cotton  "  crossed  with  scarlet,  either 
with  or  without  cutting,  as  will  be  hereafter  described.  > 

The  zephyr  of  one  shade  is  taken,  and  wound  from  one  side  to  the  other  around 
the  pins,  as  from  A  to  B  in  Fig.  38,  about  thirty  turns  over  each  two  opposite 
pins,  until  the  entire  number  upon  the  top  and  bottom  are  thus  filled,  using  care 
not  to  stretch  the  wool,  and  still  not  to  wind  so  loosely  that  it  will  hang ;  fasten 
each  end  of  zephyr  upon  its  pin,  by  giving  a  loose  tie.    The  top  and  bottom  thus 

filled,  proceed,  with  the  contrasting  color, 
to  cross  the  first  strands,  by  winding,  in 
the  same  manner,  from  side  to  side,  c  to 
d.  The  entire  frame  thus  covered,  the 
strands  are  fastened  together  thus  :  Thread 
a  zephyr  or  netting  needle  with  zephyr,  of 
one  of  the  shades  used,  and  commencing 
at  one  corner,  tie  or  sew  each  two  strands 
together  by  passing  the  needle  up  through 
the  square  openings  between  the  strands, 
then  over  the  crossed  strands  diagonally ; 
as  from  a  down  at  b,  up  again  at  a,  over  to 
c  and  down ;  up  at  d,  down  at  c,  over  to  e, 
Fig.  38.  down,  etc. ;  proceeding  thus,  until  the  whole- 

has  been  passed  over  diagonally  once ;  this  is  then  crossed  in  the  t^ame  manner  ; 
this  tying  should  be  firm  and  tight,  some  persons  considering  it  necessary  to  make 
a  tie  upon  the  under  part  of  each  cross,  beneath  the  place  when  the  strands  cross 
each  other.  Then,  with  small,  sharp-pointed  scissors,  cut  about  three-fourths  of 
every  strand,  between  the  ties.  This  cutting  must  be  on  the  upper  side  of  the 
mat,  and  precisely  in  the  center  of  each  strand.  The  wool  will  appear  in  irreg- 
ular tufts,  which  must  be  trimmed  smoothly,  like  rounded  buttons  or  balls ;  a 
pearl-bead  drawn  down  into  the  center  of  each  tuft,  forms  a  beautiful  finish. 

After  cutting  and  picking  out  all  the  tufts,  the  mat  is  cut  from  the  frame 
and  the  fringe  trimmed  off  evenly. 

In  making  these  mats  of  white  cotton,  we  do  not  use  more  than  twenty  strands 
of  each  color  around  the  pins,  and  do  not  cut  them  after  fastening  ;  but  tie  with 
scarlet  working-cotton,  and  allow  the  crosses  to  appear  as  an  ornamental  finish. 

DAISY-MAT,  NO.  2. 
Some  years  since,  we  were  enthusiastic  over  another  kind  of  daisy-mat,  which 


292 


HOUSEHOLD  ELEGANCIES. 


was  then  "  the  rage,"  and  which  we  are  pleased  to  see  is  again  becoming  popu- 
lar, and  with  good  reason,  as  it  is  exceedingly  tasteful,  and  has  the  recommend- 
ation of  improving  after  washing.  The  explanations  and  little  figures  appended 
in  elucidation  thereof,  we  hope  will  make  its  formation  clear.  W e  formed  our 
mats  with  white,  yellow  and  green  zephyr,  but  silk  or  cotton  may  be  used  if  pre- 
ferred. It  is  made  upon  a  frame  of  any  siz3  desired.  These  frames  are  made 
of  four  strips,  an  inch  and  a  half  wide,  an  inch  thick,  and  twelve  inches  long, 
more  or  less. 

These  pieces  are  grooved  upon  one  edge,  and  any  carpenter  will  do  this  with  a 
common  grooving-plane,  such  as  is  used  for  matching  flooring-boards.  These 
grooved  edges  are  then  notched  with  square  notches,  an  inch  apart,  cut  at  regu- 
lar distances,  and  made  very  smooth  and  even,  as  shown  in  Fig.  39.  The  mat 
is  made  of  white  and  a  few  skeins  of  bright-yellow  zephyr, 
which,  for  the  sake  of  convenience  in  handling,  might  better 
be  first  loosely  wound ;  then  lapped  r  o  u  n  d  the  grooves, 
thirty  or  forty  times  around  each  groove.  When  all  the 
notches  upon  the  top  and  bottom  are  covered,  those  upon  the 
ends  are  lapped  in  the  same  manner,  the  strands  crossing 
each  other.  Care  must  be  used  not  to  stretch  the  zephyr, 
yet  the  strands  must  not  hang  loosely.  The  notches  of  the 
frame  all  covered,  proceed  to  tie  each  intersection  of  the 
strands,  with  green  zephyr  crossed  over  each  way  as  shown 
in  Fig.  41.  When  all  the  lappings  are  thus  crossed,  and  tied 
upon  the  wrong  or  under  side,  as  described  for  the  daisy-mat 
No.  1,  a  needle  is  threaded  with  yellow  zephyr,  or  coarse  em- 
broidery-silk, and  holding  a  finger  or  smooth  pen-handle  over 
each  crossing,  the  needle  is  passed  up  from  the  nnder  side  in 
the  center  of  the  crossing,  and  the  zephyr  passed  over  the 
finger  or  handle  and  into  the  mat  again,  repeating  this  several  times  until  a 
dozen  loops  are  formed,  which  are  finally  cut  through  the  center ;  when  all  the 
crossings  have  been  finished  in  this  way,  the  sharp  point  of  the  scissors  is  passed 
through  three-fourths  of  the  strands  of  each  lap,  exactly  in  the  center  between 
the  ties,  and  cut  as  shown  at  Fig.  42.  The  tufted  ends  thus  made  are  trimmed 
and  combed  until  quite  soft  and  "  fuzzy "  or  frayed.  The  yellow  spot  in  the 
center  is  a  great  improvement,  as  it  appears  like  the  center  of  the  flower ;  but  a 
still  more  distinct  button  is  formed  by  making  the  first  set  of  strands,  from  top 
to  bottom,  of  white  or  white  and  pink  "  shaded  zephyr,"  and  the  upper  ones 
crossed  over  these  from  side  to  side,  of  bright  yellow,  for  by  this  course  the  daisy, 
after  being  cut  and  frayed,  appears  like  a  natural  flower,  with  the  rim  of  white 
and  center  of  deep  yellow ;  in  this  case  also  cross  with  green,  which  appears  re- 
markably pretty  beneath  or  between  the  white  flowers,  or  the  one-fourth  of  the 
first  strands  may  be  a  light-blue  green,  which  will  be  left  uncut. 


HOUSEHOLD  ELEGANCIES. 


293 


If  preferred,  these  mats  may  be  made  in  various  colors,  though  the  white 
and  yellow  with  green  surroundings,  is  the  most  chaste  and  delicate.  White 
floss-silk  forms  elegant  toilet-mats,  but  rose  and  white,  scarlet  and  black,  "  red, 
white  and  blue,"  sulphur-color  and  orange  with  pale  green,  and  blue  and  white 
will  form  elegant  combinations.  These  mats  possess  another  advantage  besides 
their  great  beauty;  they  are  not  injured  by  washing;  indeed,  it  appears  to  im- 
prove them.  The  frames  described  in  mat  No.  1,  will  answer  equally  well  for 
No.  2  ;  and,  indeed,  we  prefer  them.    Each  size  takes  a  different  frame. 


Fig.  40.  Fig.  41.  Fig.  42. 


Large  heavy  frames,  made  with  thick  pins  of  wood  or  iron,  may  be  used  for 
making  rugs  for  the  floor,  using  rags  ;  cut  and  sew  like  those  for  carpet,  or  nar- 
row strips  of  old  carpet,  and  sewing  or  tying  the  laps  with  heavy,  colored  "  chain  " 
or  twine. 

BUEEAU  CANDLE-STANDS. 

As  some  dressing-bureaus  are  not  furnished  with  brackets  for  lamps,  and, 
in  the  country,  there  is  no  gas  wherewith  to  illuminate  the  mirror,  recourse 
must  be  had  to  various  expedients  for  so  placing  light  upon  each  side  of  the 
bureau,  that  there  may  be  equal  light  and  no  shadow.  For  the  common,  plain- 
topped  bureau,  we  are  in  the  habit  of  arranging  tasteful  little  stands,  which  not 
only  answer  the  purpose  desired,  admirably,  but  also  appear  extremely  orna- 
mental. 

One  set  of  these  little  candle-stands  is  made  as  follows  :  Procure  four  square 
pieces  of  board,  from  which  saw  the  corners  so  as  to  make  six  equal  sides ;  or 
these  pieces  may  be  perfect  circles,  if  desired.  They  should,  in  either  case,  be 
six  inches  in  diamBter,  and  half  an  inch  thick ;  in  the  center  of  each  bore  a  hole 
partially  through,  into  which  fasten  a  rod  eighteen  inches  high,  and  about  half 
an  inch  in  diameter ;  a  section  of  an  umbrella-handle  answers  well  for  this  pur- 
pose ;  dip  the  ends  in  glue  and  insert  into  the  holes,  passing  a  screw  from  the 
circular  boards  through  into  the  ends  of  the  rod,  sinking  the  head  of  the  screw 
until  it  is  even  with  the  surface  of  the  board. 

There  will  now  be  two  little  stands  which  only  require  covering,  which  is  done 
by  tacking  glazed  muslin  smoothly  over  the  top,  over  a  piece  of  Canton  flannel 


294 


HOUSEHOLD  ELEGANCIES. 


oi-  other  heavy,  soft  material,  and  plaiting  a  strip  of  the  muslin,  a  few  inches 
longer  than  the  height  of  the  stand,  around  the  top  in  small  "  box-plaits,"  take 
it  in  long,  even  folds  to  the  bottom,  allowing  it  sufficiently  loose  to  fasten  around 
the  rod,  midway  between  top  and  bottom,  and  tack  it  in  the  same  manner 
around  the  bottom ;  then  make  a  band,  one-quarter  of  an  inch  wide  and  two  or 
three  inches  long,  which  sew  around  the  center  of  the  rod,  thus  binding  the 
muslin  into  close  folds.  This  finishes  the  inner  cover,  which  requires  an  outer 
covering  of  figured  lace,  bobbinet  or  tarlatan,  tacked  on  smoothly  around  the 
top  and  bottom,  and  gathering  in  the  middle  on  the  band  of  muslin.  Make  four 
full  ruchings,  which  trim  with  edging,  a  row  of  narrow  bright  ribbon  of  same 
color  as  the  lining  of  stands ;  also  make  circular  mats,  of  any  pretty  style,  of  the 
same  shades,  as  large  as  the  top  of  the  stands,  and  tie  a  bunch  of  bright  tassels 
or  ribbons  round  the  center  of  the  stem.  On  the  bottom  fasten  four  little  wooden 
knobs,  such  as  are  used  for  small  bureau-drawers,  for  feet.  These  little  stands 
will  be  found  really  beautiful,  and  can  be  made  of  any  desired  height. 

A  set  covered  with  "  Turkey-red  chintz,"  covered  with  Xottinghani  lace,  in 
small  pattern,  with  scarlet  ribbons  and  coral-mats  on  the  top,  will  be  found 
charming.  Any  other  cover  will  answer,  and  velveteen,  reps,  etc.,  may  be  used 
without  covering,  and  a  fringe  of  pearl  or  crystal  beads,  instead  of  ruffles,  will 
be  equally  beautiful ;  in  this  case,  a  band  worked  with  beads  should  be  used 
around  the  center. 

Another  pretty  method  of  making  these  stands  is  to  take  four  circular  pieces, 
two  one-third  less  than  the  other  two ;  the  small  ones  place  at  the  bottom,  with 
feet  as  described  for  the  "  hour-glass  stands  ;  "  fasten  the  two  together  with  a 

rod,  also  as  described  before.  Ornament 
this  with  six  strips  of  skirt-springs,  coiled 
up  on  the  bottom,  then  extended  up  the 
rod,  fastened  round  the  center  of  it,  mid- 
way between  top  and  bottom;  extend 
out  to  the  top  and  fasten  by  tacking 
strips  of  strong  leather  over  the  ends ; 
paint  this  work  brown,  and  after  drying, 
cover  with  bronzing.  Embroider  a  lam- 
brequin in  six  divisions,  like  the  figure 
given  in  illustration,  using  stone-colored 
cloth,  with  "  application  "  work  of  green- 
velvet  leaves,  veined  with  yellow,  and 
flowers  of  crimson  cut  from  ribbon  or 
silk,  and  fastened  with  button-hole  stitch. 
Make  a  mat  for  the  top  of  green  moss- 
fringe,  described  in  coral  and  moss  mats, 
and  finish  with  pendent  tassels  or  acorns  at  every  section. 


Bureau  Candle-Stand.   Fig.  43. 


HOUSEHOLD  ELEGAN^CIES. 


295 


FLOWEPv-STAJ^D  WITH  EMBKOIDEEED  LAMBEEQUINS. 

The  frame  of  this  stand  may  be  very  easily  con?5tructed  of  white-cane  rods. 
The  two  rods  connected  by  a  short  piece  at  the  top,  at  each  corner,  measure  six 
and  four-fifths  inches  in  height,  and  are  connected  with  rods — each  six  inches 

long,  crossing  each' other  at  the 
corners,  the  ends  projecting  one 
inch — in  such  a  manner,  with 
brass  tacks,  that  the  lower 
crossed  rods  enclose  a  hexagon 
bottom  of  thin  wood,  each  of 
whose  sides  measure  three  and 
two-fifths  inches,  while  the  side- 
walls  of  the  stand  measure  three 
and  four-fifths  inches  in  height. 
The  rods  that  are  connected  at 
the  top  may,  if  desired,  remain 
single,  and  be  decorated  with 
white  or  black  headed  pins,  all 
the  ends  of  the  other  rods  being 
decorated  in  like  manner.  To 
make  fimi  side-walls  a  strip  of 
card-board  covered  with  red 
cloth  is  inserted  between  the 
double  rods.  The  lambrequin 
on  each  part  is  of  red  cloth,  dec- 
orated with  an  arabesque  border 
of  gold  t  h  r  e  a  d,  fine  b  1  a  c  k 
soutache,  and  heri-ing-bone 
stitches  of  black  silk.  The  oval 
— two  inches  high  and  one  and 
two-fifths  inches  wide  —  cut 
away  in  the  middle,  is  filled  up  by  a  medallion  embroidered  in  various  gay  colors 
on  white  cloth.  The  upper  crossed  rods  are  wound  about  with  red  chenille. 
The  tassels  are  made  of  fine  strips  of  red  cloth,  '  li  it  is  desired  that  the  stand 
should  be  decorated  with  natural  flowers,  a  tin-dish  must  be  i^laccd  in  it.  Hand- 
some artificial  flowers,  however,  make  a  very  beautiful  appearance,  when  taste- 
fully arranged.  ' 
CEOSS  WITH  BIBLE,  SYMBOLICAL  LEAVES,  ETC.,  AS  A 

TEANSPAEENCY.— SEE  rEO:N'TISPIECE,  PAGE  4. 
This  transparency  is  designed  to  be  placed  in  a  velvet-frame,  ornamented  with 
gold  devices  on  the  corners.    The  one  from  which  this  was  copied  consisted  of  a 


296 


HOUSEHOLD  ELEGANCIES. 


blue-velvet  foundation,  with  clusters  of  richly-embossed  gold  ivy-leaves  on  the 
corner. 

The  design,  greatly  enlarged,  is  marked  out  by  mere  touches  of  the  pencil, 
and  cut  around  entirely,  excepting  at  the  base  of  the  cross,  stems  of  the  leaves, 
bottom  of  the  book,  etc.  The  painting  is  done  in  the  same  manner  as  the  vase 
of  flowers ;  the  leaves  green  in  two  or  three  shades ;  the  cross  is  painted  blue, 
upon  the  one  side,  or  may  have  a  strip  of  blue  tissue-paper  pasted  against  the 
long  cuts ;  the  book  painted  in  with  reddish  brown ;  the  thistle-flower  purple. 

We  pursue  the  following  course  for  tracing :  Transfer  it  to  a  piece  of  white 
paper,  and  prick  the  outlines  closely ;  then,  with  a  fine  needle,  touch  through 
the  pricks  on  the  card-board.  Some  prefer  using  a  colored  tracing-paper,  laying 
it  on  the  card  and  making  the  outlines  of  the  design  by  pressing  them  on  it 
with  a  sharp-pointed  instrument,  and  if  the  colored  paper  will  not  soil  the  purity 
of  the  card,  this  is  a  good  plan.  Statuary  will  be  found  exceedingly  effective 
for  this  purpose,  and  will  appear  like  groups  of  sculptured  marble,  forming 
charming  transparencies. 

DAISY-TIDY. 

The  only  materials  required  for  this  tidy  are  four  pieces  of  fine  white  tape, 
half  ounce  bright-yellow  zephyr,  and  a  few  skeins  of  a  deeper  shade.  Measure 
the  tape  into  pieces  about  twenty  inches  in  length — it  should  be  half -inch  width  ; 
then  in  order  to  gather  it  evenly,  it  is  best  to  check  off  the  edges  into  inches  and 
half  inches,  making  those  on  the  one  side  the  one,  and  on  the  other  only  half ; 
thread  two  needles  and  gather  these  edges,  inserting  the  needle  at  the  marks ; 
then  draw  them  up  very  tightly,  and  sew  the  two  edges  together.  When  all  the 
pieces  are  thus  gathered,  make  tufts  of  the  zephyr,  by  cutting  two  little  circles 
of  thin  card,  with  circular  pieces  cut  from  the  center ;  wind  or  sew  two  rows  of 
the  deep  zephyr  around  the  circle  and  fill  up  with  the  light  yellow ;  when  the 
little  hole  in  the  center  is  filled,  cut  the  edge  and  tie  a  piece  of  strong  thread  in 
between  the  two  pieces  of  card,  which  will  hold  the  zephyr ;  then  remove  the 
card  and  trim  the  zephyr  into  a  little  tuft ;  proceed  thus  with  the  three  dozen, 
and  then  sew  one  in  the  center  of  each  of  the  white  tape  rosettes  ;  when  all  are 
formed,  sew  ten  of  them  together,  then  nine,  and  so  on,  one  less  in  each  row ; 
put  together  the  different  rows  in  the  proper  order,  which  will  form  a  triangle ; 
sew  balls  and  looped  cords  to  each  corner.  The  form  of  the  tidy  may  be  changed 
to  suit  the  taste.  This  is  a  handsome  tidy  when  neatly  made  of  good  materials, 
and  presents  a  fresh,  "  daisy-chain "  appearance  that  is  quite  charming  in  a 
tastefully-furnished  room.  It  is  specially  appropriate  to  a  light,  daintily-fur- 
nished bed-room. 

LINEX-TIDY. 

There  is  a  new  style  of  embroidery  that  is  becoming  popular,  which  is  worked 
on  linen-toweling  and  is  extremely  handsome  for  tidies,  wash-stand  shields, 


HOUSEHOLD  ELEGANCIES.  297 

covers  for  chairs,  etc.  Take  the  linen  toweling,  with  regular  figures,  such  as 
stars,  diamonds,  rings,  etc.,  and  of  the  unbleached  or  tea  brown,  gray  or  buff 
shades.  Procure  also  some  bright-yellow,  blue,  scarlet,  and  bright-brown  zephyr, 
two  shades  of  each.    In  the  division  lines  between  the  figures  use  the  regular 


Fig.  45.  Linen-Tidy. 


"  herring-bone  stitch  "  with  the  two  shades  of  yellow.  The  figures,  in  the  cen- 
ter, cover  with  "  cross-stitch  "  embroidery  in  two  shades  of  brown.  The  stai's 
or  other  figures,  make  one  in  two  shades  of  blue,  the  next  in  two  shades  of  red, 
working  in  cross-stitch  on  the  threads  of  the  linen.  Ravel  out  a  fringe  on  the 
four  sides,  and  with  all  the  shades  used  in  the  embroidery,  make  long  tassels  or 
strands  which  intermix  with  the  linen  fringe.  These  tidies  are  really  handsome, 
and  one  great  recommendation  is  that  they  will  bear  washing  well,  the  colors 
appearing  even  more  vivid.  These  same  materials  applied  to  wall-pockets, 
cradle-coverlets,  table-mats,  etc.,  will  be  found  equally  handsome  and  durable. 

WATCH-STAND. 
This  pretty  watch-stand  is  an  arabesque  pattern  of  five  inches  in  height,  and 
four  in  width,  cut  from  a  thin  panel  of  wood — a  section  of  a  cigar-box  answering 
well  for  the  purpose ;  then  with  the  "  hoop-spring  wire,"  which  has  the  cover  per- 
fect, form  the  wire  trellis-work  around  the  edges.  First  cut  twenty-seven  pieces, 
one  inch  long,  and  three  pieces  sufficiently  long  to  reach  around  the  top  and  two 
sides ;  the  first  around  the  edge,  the  next  a  half  inch  beyond  it,  the  third,  one 


298 


HOUSEHOLD  ELEGANCIES. 


inch  beyond  the  first  one.  Take  a  piece  of  stiff  card,  as  wide  as  the  wooden 
panel,  and  a  half  inch  over,  and  three  and  a  half  inches  wide,  which  tack  along 
the  lower  part  of  the  panel,  with  fine  furniture-tacks  ;  next  form  the  open  lat- 
tice or  bar  work  which  surrounds  the  panel,  by  first  tacking  a  little  strip  of 
narrow  black  galloon  closely  round  the  sides  and  top  of  the  panel  as  a  means  of 
connecting  the  hoop-wire  with  the  panel,  which  is  done  by  sewing  the  webbing 
or  cover  of  the  wdre.to  the  galloon ;  then  take  the  inch-pieces,  and  fastening  the 


'  Fig.  46.  Watch-Stand. 


second  of  the  pieces  of  hoop-spring  to  the  center  of  each  piece,  and  the  ends  to 
the  one  sewed  to  .the  panel,  the  other  ends  to  the  longest  piece  of  hoop,  the 
square  bar-work  is  formed,  as  shown  in  the  engraving,  which  makes  a  firm,  and 
still  open  border,  around  the  panel.  Next  proceed  to  arrange  the  wire-bars,  also 
formed  of  hoop-skirt  springs ;  these  cross  each  other  everywhere  at  the  corners, 
each  bar  projecting  about  one  inch  and  a  half  at  the  upper  end ;  each  bar  in  the 
length  stands  out  always  by  three-quarters  of  an  inch  at  the  lower  end ;  how- 
ever, on  account  of  the  holder  for  the  watch,  chain,  etc.,  each  bar  in  the  length 


HOUSEHOLD  ELEGANCIES. 


299 


is  to  stand  but  one  inch  and  a  half.  Another  bar  of  spring-wire  is  fastened  to 
the  sides  with  thread  or  fine  wire,  and  is  bound  to  the  holder  by  sewing  it  along 
the  edge,  which  enables  it  to  be  turned  up,  as  shown  in  the  illustration. 

Next  take  four  pieces  of  wire,  sixteen  inches  long,  which  bend  in  the  center, 
and  roUino-  the  ends  out  in  coils  fasten  with  fine  thread-wire,  and  bind  these 
feet  firmly'to  the  sides  of  the  stand.  Line  the  holder  with  velvet  of  some  bright 
color,  glued  upon  the  card-board;  also  cut  a  circular  piece  of  the  same,  a  quarter 
of  an  fnch  larger  than  the  watch ;  lay  folds  of  raw  cotton  behind  it  and  sew  it 
upon  a  circle  of  card-board,  trimming  the  edge  with  chenille  and  gold  cord 
twisted  together  ;  glue  this  upon  the  center  of  the  back.  Ornament  the  wooden 
panel,  which  should  be  polished  until  perfectly  hard  and  smooth  by  varnishing 
and  rubbing  with  pumice-stone,  with  gold  floral  designs  in  Decalcomanie. 
Finally  paint  all  the  wire-work  with  liquid  bronzing,  and  ornament  with  loops 
of  the  bronzed  wire  and  the  dried,  star-like  ends  of  the  capsules  of  poppies, 
which  in  different  sizes  appear  like  fine  carving  "  en  relief; "  then  varnish  the 
whole  with  fine  Copal  varnish.  This  stand  may  be  considered  troublesome,  but 
it  is  sufficiently  elegant  to  compensate  for  whatever  time  or  patience  it  may 
require. 

We  would  remark  in  conclusion,  that  the  open  work  around  the  panel  may  be 
done  in  crochet,  if  preferred ;  then  stiffened  with  glue-size,  and  when  sufficiently 
dry,  varnished  with  shellac,  which  will  make  it  firm  and  stiff  as  wire. 

EMBOSSED  PEEFORATED  CARD-BOAPvD  CPvOSS. 

The  cross  illustrated  in  Fig.  1,  Chapter  XII,  is  perhaps  the  most  beautiful, 
chaste  and  artistic  piece  of  perforated  card-board  work,  that  has  ever  been  con- 
ceived or  formed.  A  sh^t  of  perforated  card-board  is  selected,  about  thirteen 
inches  wide,  and  fourteen  to  fifteen  inches  long,  of  fine  quality,  close  perfora- 
tions, and  pure  white  color.  The  corner  holes  are  selected  two  hundred  and 
twenty-five  holes  apart  in  length,  and  one  hundred  and  seventy-five  holes  apart 
in  width ;  outside  of  these  is  left  a  margin  of  twenty-two  holes  all  around,  and 
the  rest  cut  off.  The  observer  will  see,  by  scrutinizing  the  illustration,  how  fhe 
exquisite  lace  border  is  formed,  and  the  detail,  although  intricate,  is  yet  clear 
enough  for  exact  imitation.  / 

The  cross  is  made  of  successive  layers  of  card-board,  each  smaller  than  the  one 
below.  The  base  of  the  cross  above  the  long  row  of  holes,  must  be  fifty-four 
holes  wide,  and  sixteen  holes  high  on  each  end.  There  are  seven  distinct  layers 
used  in  forming  the  ridges  of  the  cross,  and  in  each  arm  of  the  cross,  the  top,  cen- 
ter and  bottom,  there  are  raised  crosses  of  small  sizes,  which  add  a  most  charming 
effect.  The  amateur  desirous  of  constructing  this  elegant  piece  of  fancy  w^ork, 
must  observe  the  engraving  closely,  which  is  a  perfect  photograph  of  the  origi- 
nal we  here  describe.  The  detailed  description  of  each  layer  and  form,  w^ould 
be  too  minute  for  these  pages. 


300 


HOUSEHOLD  ELEGANCIES. 


CORNUCOPIA  HANGING-BASKET. 
Procure  a  large  horn,  those  long,  curiously-shaped  ones  of  the  Texan  oxen 
are  novel  and  commodious,  and  quite  a  curiosity ;  but  curled  ram's  horns  are 
still  prettier ;  while  the  wide  short  kind  of  certain  kinds  answer  admirably; 
the  size  or  form  is  a  matter  of  taste,  and  a  variety  can  be  had  at  the  slaughter- 
houses, from  which  to  select.  With  a  piece  of  glass,  held  in  a  gloved  hand  for 
fear  of  accident,  proceed  to  scrape  the  entire  horn  perfectly  smooth.  Mark  any 
appropriate  design  upon  certain  parts  of  it,  with  a  small  camel's-hair  brush, 
dipped  in  tallow,  and  a  little  beeswax  melted  together ;  then  place  in  stiono- 
vinegar  or  acid  for  a  short  time,  or  until  the  surface  not  painted  is  destroyed, 
when  upon  carefully  scraping  off  the  tallow,  etc.,  and  wiping  with  a  cloth  dipped 
in  turpentine,  the  figures  will  be  found  raised  upon  the  surface ;  or  some  prefer 
to  etch  a  figure  or  set  of  figures  with  sharp-pointed  instruments ;  either  will  be 
found  ornamental, ^though  many  would  admire  the  surface  most,  with  its  own 
natural  markings  as  ornamentation.  The  horn  cleansed  nicely  within,  fasten 
two  brass  rings  to  the  extreme  ends,  in  which  insert  a  brass  chain.  Fill  the 
horn  with  earth,  in  which  plant  trailing  vines  or  creepers,  or  fill  it  with  dried 
flowers  and  leaves. 

Another  pretty  horn  is  made  by  boiling  a  horn  for  ten  hours  in  clear  soft 
water,  then  scraping  the  surface  with  glass  until  a  quantity  of  pure  thread-like 
shavings  are  obtained,  which  fasten  upon  the  surface  of  the  cornucopia  with 
glue ;  add  here  and  there  sprays  of  artificial  coral.  It  will  look  like  sea-foam, 
with  branches  of  scarlet  coral  caught  upon  it,  and  is  a  charming  ornament. 

HANGING-BASKET  OF  SCRAPED  HORN. 

r 

This  fairy-like  piece  of  ornamentation  is  made  thus  :  Take  two  hoops  of  wire, 
the  white-covered  kind,  such  as  milliners  use  to  stiffen  bonnets,  of  which  make 
two  hoops,  one  eight,  the  other  three  inches  in  diameter,  which  fasten  together 
with  strips  of  tarlatan  about  three-quarters  of  an  inch  wide,  and  ravel  out  each 
edge  to  a  few  strands  in  the  middle;  fasten  eight  of  these  strips,  sufficiently 
long  to  make  a  pretty-shaped  basket,  between  the  two  hoops.  This  forms  the 
skeleton  of  the  basket.  Upon  this  sew  loose  bunches  of  the  shavings,  made  by 
scraping  boiled  cattle-horns.  The  entire  basket  must  be  thus  covered,  and  long 
tassels  formed  by  sewing  the  shavings  on  strips  of  tarlatan.  The  suspension 
cords  are  covered  in  the  same  manner  upon  each  side,  and  a  tassel  placed  between 
them,  midway  between  the  basket  and  point  where  the  cords  connect. 

This  is  an  exquisite  cover  for  a  basket,  but  the  case  should  be  so  fastened 
that  no  great  amount  of  weight  rests  upon  the  light,  frail  outer  case.  ' 


I 

INDEX. 

.  

Chapter    I.    Transparencies  on  Glass  for  Windows,  Lamps,  Halls, 

Etc. — Diaplianie,  Vitremanie.     18  Engravings,        -  5-28 
11.    Fancy  Work  with   Leaves,  Flowers   and  Grasses — 
Phantom  Leaves,  Autumn  Leaves,  and  Mosses.  23 
Engravings,  29-64 

III.  Spray- Work  or  Spatter-Work.    23  Engravings,      -  65-78 

IV.  Brackets,  Shelves,  Mantels,  Etc.    27  Engravings,       -  79-99 
V.    Picture-Frames.    17  Engravings,     -      -      -       -       100-1 IG 

VL    Fancy  Leather-Work.    29  Engi-avings,       -      -      -  117-138 
VII.    AVall-Pockets.    18  Engravings,        -      -      -      -  139-159 
VIII.    A^'ork  Boxes  and  Baskets.    17  Engravings,        -      -  160-176 
IX.    Wax  Flowers,  Fruit,  Etc.    21  Engravings,     -      -  177-202 
X.    Indian  Painting  in  imitation  of  Ebony  and  Ivory.  14 

Engravings,   203-216 

XL    Cone,  Spruce,  and  Seed  Work.    35  Engravings,     -  217-248 
XII.    Miscellaneous  Fancy  Work.    46  Engravings,     -      -  249-300 


IN  SCHAP  BOOKS,  VALENTINES,  PICTURE  FRAMES,  EASELS, 


Cornucopias^  Screens^  Toy  Thsatsrs^  Black  Walnut  Strips^ 

FOR,   EASELS,   ER^MIES,  Etc. 

Address  Cards,  Written  by  Hand,  Diaphanie  Pictures,  Unmounted  Photographs, 

Shadow  Pictures,  Silliouettes,  Pliotographs  of  Statuary,  Panel  Bouquets,  all  sizes,  with  black 
background.     Embossed  Initial  Letters,  in  gilt  and  fancy  colors,  for  scrap  books,  gift 
books,  etc.   Study  Pictures,  Ideal  Heads,  beautiful  Rose  Buds,  Ferns,  Autumn 
Leaves,  Crosses,  Fuchsias,  etc.,  for  lainp-shade  decoration,  or  to  frame  fancy 
ai  d  embossed  pictures,  heads  for  dolls,    and    dresses.     "  Scrap  Book," 
"  Herbariums,"  and  books  specially  for  "  Ferns."  etc.    An  immense  stock 
of  Embossed  or  "  Stumped  Out"  pictures,  adapted  for  every  purpose 
of  ornamentation,  illustration,  by  children,  of  stories.  Red  Riding 
Hood,  etc.,  for  fancy  work  in  endless  variety. 

Please  send  two  cent  slamp  for  Catalogue. 

J.  J^Y  aOTJLD, 

20  Bromfield  Street,  Boston,  Mass. 


ilvELETON  §BAVES  andIhANTOM  §L0WERS< 


Process  copyrighted,  by  which  Skeleton  Leaves.  Flowers,  etc.,  can  be  prepared  in  quicker  time, 
more  thorough  manner,  and  with  more  delicate  results,  than  by  methods  usually  practiced  or 
hitherto  described  in  books, 

Can  be  JProciired  of  the  JJndersigneif , 

Who  is  sole  proprietor.  The  sole  right  to  which  has  been  sold  to  him  by  a  lady  whose  Art  Work 
is  unexcelled,  and  many  of  whose  specimens  of  Skeleton  Leaf  Work  have  brought  high  prices  in 
this  city.  The  process  is  guaranteed  perfectly  satisfactory.  Recipe  is  sold  with  right  for  individ- 
ual use  only.    JSot  transferrable  to  others.    Price  $1 ;  sent  postpaid  by  mail.  Address, 

HENRY   T.  WILLIAMS, 

4(>  Beekmaii  Street,  New  York. 


Amateurs  desiring  to  learn  the  Art  of  Diaphanie,  Vitremanie,  and  other  Transparancies  on 
Glass,  and  wishing  all  the 

MATERIALS,  Together  with  a  CATALOGUE  of  Over  200  Designs, 

Such  as  "  Charity,"  page  20;  or  "Swiss  Landscapes,"  Page  17,  cart  obtain  them  by  enclosing  to  us 
$2,  for  each  sheet  of  designs  wanted;  or  50  cents  for  Illustrated  Catalogne. 

Address  HENBY  T.  WILLIAMS,  Puhlisher. 

46  Beekman  Street,  N.  T. 


By  HENRY  T.  WILLIAMS, 

Eciitoz-  Xj^dies'  Gex.'\o>±jo.&t,  UST. 


iipieifl  1111A¥I1@S, 


An  Elegant  Book,  with  250  Fine  Engravings  and  300  Pages, 

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wish  to  adorn  their  houses  in  the  easiest 
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given  as  to  the  best  selection  of  plants  for 
Baskets  or  Ferneries  ana  Wardian  Cases. 
Several  chapters  are  devoted  to  Hanging 
Baskets,  Climbing  Vines,  Smilax,  and  the 
Ivy,  for  decorative  purposes.  Bulbs  for 
House  Culture  are  fully  descril)ed;  also 
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Decoration.  Other  topics  are  well  con- 
sidered, such  as  Balcony  Gardens,  House 
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A  delightful  little  volume,  written  by  a 
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Among  the  topics  treated  are  Gerat.iums,  Fuchsias,  Bulbs.  Ornamental  Flowerintr  Shrubs,  Eveij 
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Watering  Soils.  When  and  How  to  Plant,  Dahlias,  Lilies,  Gladiolvs,  Verbenas.  Cannas,  Balsams, 
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AND- 


HOME  DECORATIONS. 


Fret-Sawing  has  become  an  art  of  such  wonderful  popularity  that  the  interest  in  it  lias  been 
shared  by  both  amateurs  and  professionals  to  an  astonishing  extent.  Hundreds  are  caming  large 
sume  of  pocUet-Miouey  by  cuiting  these  beautiful  household  ornaments,  and  selling  among 
friends  or  acquaintances,  or  at  the  art  stores. 

Ladies  and  the  Young  Folks  find  in  it  a  fascinating 
recreation,  and  are  making  dozens  of  fancy  articles 
at  small  cost,  to  decorate  their  homes  in  a  charming 
manner,  or  to  give  as  Holiday  Presents  to  friends.  The 
following  books  contain  mechanical  designs  of  full 
size  for  immediate  use,  and  are  invaluable  alike  to  the 
amateurs,  ladies,  young  folks,  mechanics,  architects, 
and  all  of  professional  skill. 

Pakt  1  contains  full  size  designs  for  Picture 
Frames,  Small  Brackets,  Book  Kacks,  Fancy  Letters 
and  Figures,  Ornaments,  Wall  Pockets,  etc.  (Has 
patterns  worth  at  usual  prices  over  $S.)  Price  75  cts., 
post-paid  by  mail. 

Part  2  is  devoted  exclusively  to  designs  of  Brackets 
of  medium  to  large  size,  all  entirely  new,  and  of  the 
most  tasteful  detail  and  execution.  (Contains  over  .50 
plans,  worth  at  least  $15.)  Price  $1.00,  by  mail,  post- 
paid. 

Part  3  is  devoted  to  Fancy  Work,  Ladies'  Work 
Baskets,  Easels,  Crosses,  Match  Boxes,  Pen  Backs, 
Paper  Cutters,  Calendar  Frames,  Thermometer  Stands, 
Watch  Pockets,  Fruit  Baskets,  Table  Platters,  etc. 
Nearly  100  designs,  many  of  them  really  exquisite. 
Price  $1.00. 

The  above  books  contain  over  300  patterns,  all  beau- 
tifully printed  in  blue  color.  These  books  are  the 
only  ones  yet  issued  in  the  U.  S.  The  patterns  are 
mostly  original,  designed  expressly  for  these  books, 
and  in  execution,  choice  selection,  taste,  cheapness, 
they  may  be  safely  esteemed  the  best  collection  yet 
produced!  The  whole  series  of  three  costing  "but  $2.75,  contains  upwards  of  300  patterns,  worth 
at  usual  values  over  .$00.    All  sent  post-paid  by  mail  on  receipt  of  price. 

Bracket  and  Fret  Saw. 

With  this  bracket  saw,  the  designs  and  directions,  very 
desirable  articles  can  be  made  for  Fairs,  etc.,  whidi  will 
sell  (luickly  and  at  a  gooil  profit.  With  it  you  caTi  inahe 
beautiful  articles  for  presetifntion  yifts.  With  it  you  can 
help  beautif;/  your  Jiomes.  With  it  you  can  make  money. 
To  parents  desiring  a  tseful  gift  for  their  children,  we 
would  call  attention  to  this  Bracket  and  Fret  Saw,  for  it 
not  only  affords  great  pleasurt,  hiUithelp)s  to  cultivate  a 
meclianical  taftfe. 

Price  with  2.")  bracket  and  ornamental  designs,  6  bracket 
saw  blades,  also  full  directions  for  use.  Sent  by  mail  for 
$1.25. 


Address  HENRY  T.  WILLIAMS,  Publisher, 

46  Beekman  Street,  New  York. 


Sii'tlid^y  G^ift^  to  l^rieiid^. 

SERIES  No.  3.   Price  75  Cents. 
No. 

Honor  thy  Father  and  Mother.  16 1  The  Doxology . 


Kememljer  Sabbath  Day. 
The  Lord's  Prayer. 
Blessed  are  the  Merciful. 
Remember  Me. 
A  Blessing. 


162  The  Liord  is  my  Shepherd. 

163  A  Happy  Christmas. 

164  A  Happv  New  Year. 
175  To  One  I  Love. 

179  Faith,  Hope,  Charity. 


No. 
167 

no 

173 
174 
177 
180 


Happy  May  thy  Birthday  be.  160 


SERIES  No.  4.    Price  «1.00. 


A  Birthday  Gift. 

Hope  the  Anchor  of  the  Soul. 

Kemember  now  Thy  Creator 

The  Ascension. 

A  Happy  New  Vear. 

J'amily  Worsliip.  '  ^ 

The  Beatitudes. 

Unchanging  Love. 

True  Love. 

Remember  Me. 

Compliments  of  the  Season. 

A  Happy  New  Year. 


No. 

•iiSl  Birthday  Blessing. 

iol  Many  Happy  Keturns  of  the 

2.57  Day. 

258  Home,  Sweet  Home. 

260  I  Love  Thee. 

262  The  Old  Arm  Chair. 

265  The  Last  Rose  of  Summer. 

289  The  Priceless  Gem. 

293  A  Birthday  Wish, 

352  Thv  Will  be  Done. 

359  Forget  Me  Not. 

3«7 


No. 

266 

269 
277 
278 
280 
282 
238 
295 
358 


The  quality,  size,  artistic  color  and  beautiful  appearance  of 
the  Book-Marks,  is  in  correspondence  with  the  price,  those  at 
$1.00  being  much  the  largest  and  finest;  yet  all  are  so  admira- 
ble, and  so  far  surpass  in  brilliancy  and  taste,  any  attempt  to 
describe  them,  that  they  must  be  seen  to  be  appreciated. 

The  same  motto,  or  sentiment,  often  appears  in  each  Series, 
but  is  different  in  every  case,  both  in  colors  and  design,  and  dif- 
ferently woven. 

The  Book-Marts  of  Series  1  and  2,  are  usually  6  inches 
long ;  of  Series  3,  from  8  to  9  inches  long ;  and  Series 
4,  from  10  to  11  inches  long. 

Special  Prices  to  any  who  wish  to  buy  in  Quanti- 
ties of  one  dozen  or  over,  for  Gifts  to  Friends, 
or  in  School,  Fairs,  &c. 

Agents  wanted  to  sell  in  all  parts  of  the  country.   One  or  more 
can  be  sold  in  every  family,  where 

THEY  SELL  SPLENDIDLY, 

And  win  Admiration  everywhere. 

Ivtfy  Lai  J  aii  ivify  iggk  Igadgp  will  It  sif©  to  iij. 
Address  HENRY  T.  WILLIAMS,  Proprietor, 

46  Beekman  Street,  New  York. 


■   .  ,  TO  CHIDE  ME  FOR  lOVINGWAT  OLD  ARM  CHAIB 
''     I'VE  TREASURED  IT  10N8  AS  A^HO-IY  PRIZE 


Gems  of  Art !  They  win  Admiration  Everywhere  ! 

c9i 


These  New  and  Beautiful  Productions  of  the  Loom  are 
the  wonder  and  admiration  of  all.  They  are  not  orily  use- 
ful as  Book  Registers,  but  elegant  and  tasteful  as  Presents. 
Each  design  is  woven  in  silk  in  various  colors,  and  the  views 
and  likenesses  are  remarkably  clear  and  correct.  The  en- 
graving here  given  is  a  careful  reproduction  of  one  of  them 
on  a  reduced  scale,  and  will  give  a  faint  outline  of  their 
beauty. 

The  variety  of  these  novelties  is  now  very  large,  number- 
ing over  four  hundred,  and  emlfiaces  an  extensive  assort- 
ment of  Anthems,  Hymns,  Scriptural  Texts,  and  Verses  on 
the  affections,  Birthdays,  etc.,  etc.,  from  Shakspeare,  Byron, 
Burns,  Moore.  Tennyson,  Hood,  Eliza  Cook,  George  Eliot, 
Longfellow,  Wordsworth,  Cowper,  etc.,  etc.,  beautifully 
illuminated  and  woven  in  silk.  As  tokens  of  affection  they 
are  really  charming. 

OPINIONS  OF  THE  PL'ESS. 

ILLUMINATED  SILK-WOVEN  BOOK-MARKS.  —  These 
beautiful  gems  of  the  loom  cannot  be  spoken  too  highly  of, 
and  deserve  a  place  in  every  family  in  the  country.  They 
are  useful  as  well  as  an  ornamental  register  for  the  old  Fam- 
ily Bible.  The  number  of  the  different  varieties  now  reaches 
some  401),  and  one  can  be  found  for  everybody,  as  they  em- 
brace religious,  affectional,  and  sentimental  subjects,  and  are 
suitable  for  presents  to  parents  and  children,  young  maids 
and  bachelors,  and  friends  to  friends.  The  flowers,  portraits, 
and  other  pictures  are  portrayed  with  an  exactness  in  bril- 
liant colors  that  equals  the  finest  touch  of  the  painter,  and 
casts  into  the  shade  the  numerous  chromos  which  are  daily 
scattered  over  the  country.— [Christian  Advocate. 

SELECTED  DESIGNS. 
From  the  large  list  of  mottoes  and  designs  we  have  made 
the  following  selections,  which  we  specially  recommend  : 

SERIES  No.  1.   Price  50  Cents  Each. 

This  series  intended  specially  as  gifts,  prizes  or  premiums,  by 
parents,  teachers  (school  or  Sunday  school),  to  the  young 
irolks,  or  to  hang  on  Christmas  trees. 
The  Busy  Bee.  No.  76  For  a  Good  Boy.  No.  8<» 

Little  Red  Riding  Hood.     85  Little  Boy  Blue.  "  90 

  ~  87  Little  Bo  Peep.  "  91 

88  Twinkle.  Twinkle,  Little  Star.  9-3 
94  To  My  Darling.  "  m 

98  To  My  Favorite.  "  99 

Price  .50  Cents  Encli. 

No.  51  True  Love.  No.  69 

"  52  Compliments  of  the  Season.  "  70 

"  54  God  is  Good.  "  73 

The  Lord  Shall  my  Pasture.  "  74 

62  A  Tribute  of  Affection.  "  77 
64  A  Blessing, 


I  Love  Litle  Pussy. 
For  a  Good  Cirl. 
Mistress  Mary.  " 
To  My  Pet. 

SERIES  No.  2. 

Love's  Emblem. 
To  Mv  Dear  Cousin. 
Birthday  Wish. 
Happy  May  thy  Birthday 
be. 

A  Birthday  Blessing. 


Dearest,  I  Love  but  Thee.  fi6  To  mv  Dear^rother. 

Forget  me  Not.  "  67  A  Wish. 

The  Lily.  "  68  Unchanging  Love. 

Remember  Me.  "  81  To  Mv  Dear  Father. 

To  my  Dear  Sister.  "  8.3  With  best  Wishes. 

To  my  Dear  Mother.  "  86  To  One  I  Love. 
Address  orders  to 


84 
100 
101 


HE/\/RY  L  WILLIAMS,  Publisher, 

46  Beekman  Street,  N.  Y. 


win  lie  PnliMei  April  1, 1876. 


A  Charmin^^  New  Book,  with  above 
title.   A  Coinpaiiioii  Volume  to 

%m§(^IX€ld  §le^gande§ 

And  WINDOW  GARDENING. 

Being  issued  in  same  size  and  style, 
profusely  illustrated  witli  eut^ravings  of 
superior  execution,  and  (iev(jted  to 
many  topics  of  Household  Taste.  Fancy 
Work  for  the  ladies,  and  containing 
hundreds  of  suggestions  of  Home  Deco- 
ration, 

IT  WILL  COITSTITUTE  VOLUME  3 

Williams'  Household  Series. 

other  volumes  of  which  Series  will  ap- 
pear each  Spring  and  Fall,  hereafter. 

CONTENTS. 

Among  the  topics  which  "Ladies' 
Fancy  Work"  will  treat  of,  are,— 

Feather  Work,  Paper  Flowers,  Fire 
Screens,  Shrines,  Rustic  Pictures,  a 
charming  series  of  designs  for  Easter 
Crosses, Straw  Ornaments, Shell  Flowers 
and  Shell  work,  Bead  Mosaic,  and  Fish 
Scale  Embroidery,  Hair  Work,  Card- 
board Ornaments,  Fancy  Rubber 
Work,  Cottage  Foot  Rests,  WindoAv 
Garden  Decorations.  Illuminating, 
Grecian  and  Oi-iental  Painting,  Crochet 
Work,  Modeling  in  Clay  and  Plaster, 
Fret-Work,  Wood  Carving,  designs  in 
Embroidery, and  an  immense  number  of 
designs  of  other  Fancy  Work  to  delight 
all  lovers  of  Household  Art  and  Recre- 
ations. 

The  volume  will  be  fully  equal  in 
elegance  to  the  volumes  of  the  House- 
hold Series,  already  issued,  and  in 
variety  of  topics,  and  abundance  of 
engravings,  will  probably  be  in  many 
respects  superior  in  interest. 

SPECIAL- NOTICE. 

Any  individual,  a  member  of  the 
trade,  desiring  advance  copies  of 
"Ladies'  Fancy  Wobk,"  when 
ready,  may  forward  to  me  their  names 
for  record,  and  I  will  forward  to  them 
a  Circular  of  Announcement,  with  full 
description  of  Contents,  price  and 
exact  date  for  delivery,  by  mail  or  to' 
the  book  trade. 

Price  $l.BO. 


HENRY  T.  WILLIAMS, 


PUBLISHER. 


^       46  Beekman  Street,  N.  Y. 


